#less clean lines but more refined sketches

[tworealms]

what if world was made of pudding

LONGER

[djpachipikachu]

Hey! You draw so beautifully! Do you think you can give me some tips for anatomy and sketching?

AW stop thank you so much ur so nice !!! and id love to :]

ive done a big post about some anatomy tips that you can check out here

but it is definitely a little old so here are more tips on anatomy !

i think my most utilized piece of advice for my own sketches is adding guidelines similar to the ones ppl usually add for the face to show where the body is facing? as an example here, i use a curved guide line to show how cj's body twists and tilts to build up a form , as well as lines for his legs and arms just to know where theyre facing

along with that CURVED LINES ARE YOUR BEST FRIEND !!! every part of the body is a glorified cylinder stacked on top of cylinders ! a lot of what helps make a body believable is that there Is some perspective used to show the dimensions even if there isnt any visible background

feet are also smth i see people struggle with and i dont Reallt know how to explain how i draw them but i usually draw a triangle with a half circle in front to mark where the toes are.,., make sure to include the arch of the foot and such..,,. make sure that the back of the heel pushes out a little further than where the leg connects....

this other small tip is about some of my favorite muscles to draw bc idk theyre fun LMAO but its about the deltoid and this other mass of muscle that control the neck

the deltoid is that triangle thats at the top of the arm and part of the shoulder ! adding some small lines that overlap into the arm and show the creases of the skin where the deltoid is placed helps add more solid form into the body :] and just drawing that sloped line of the neck muscles (green part) helps to connect the arm to the neck a littl more believably than if you just drew a straight line from the arm to the neck

HOWEVER LIKE . thats a stylization choice and also a matter of body type since im more used to drawing filled out muscular/fat body types, im not very experienced in bonier kinda bodies !

as for sketching advice ummm ..,. although i usually try to make a sketch as clean as possible first try , dont be afraid to have like a Super rough gesture type of sketch/thumbnail sketch just to get the movement and emotion down as best you can before refining it ! trying to make it accurate and detailed and shit on the get go can cause it to feel rly stiff , so get the Entire pose or comp down quickly in maybe 10-20min or less to just capture the motions before going over it again in a cleaner sketch ?

i tend to have the issue of forgetting to just capture everything first before getting into details so thats something i gotta remind mtself a lot LMAO here are some messy sketches i have where i just wanted to get shit down above all else

i also try to use as little lines as possible and get the vibe right in one brush stroke type of feel , no small chicken scratch/hairy lookin lines , which is mainly bc im aiming to be a storyboard artist and also bc i want to be able to post my sketches without needing to clean them up LMAO the only times i do a second sketch is for bigger pieces usually

another example of rly rough jotting down before cleaning it up

last bit of advice is using pen to do traditional sketches thank you and goodnight blows kisses

[the-100-days-of-junkan]

Day 82

Another one that I love!~ Gonna be a lot of those from here on if you couldn’t tell!

Junko’s the Ultimate Fashionista (in the english release at least but hey Ultimate Gyaru has to have a little crossover right??), so of course she handles Mikan’s wardrobe the moment she’s allowed to. So . . . Extremely cute scene of her having Mikan try out clothes to see what she does and doesn’t like. 

An opportunity for Junko to pamper Mikan, AND i get to draw Mikan in a sweater???? Heaven. Also like are we all in agreement that sweaters just look fuckin amazing on Mikan?? Like I admit, I think I just like drawing Sweaters on Mikan but they just make her look so much cuter because of how god damn cozy she looks in em. 

Unfortunately that’s all I have to talk about for that topic? I think? So instead let’s shift over to a recent development involving Junkan!

I’m in the midst of working on the Junkan Christmas Eve comic, which hopefully will be getting posted on time a few days after this, and during the process of making there’s been something new with my current abilities.

I have officially hit the point of proper freehanding on these two.

Y’see this probably won’t make too much sense but i’ll do my best to explain. 

So normally when it comes to sketches I’ve done things a bit less proper compared to more professional artists. I usually get a little start on the anatomy, and then just start sketching all the character details and moving out from there. It isn’t often that I do a full sketch for the basic anatomy of a character, I only do it when I really wanna not fuck up a pose. And as you also know up till now only one piece in this event was drawn normally. Everything else is a sketch that i cleaned up and colored, or just a sketch. 

This is because generally speaking I can’t do art using my normal pen tool without a sketch to work off of, it requires a lot more finesse to use the G-Pen both because of the larger shifts that can occur in line width, and the slightly looser feel it has compared to my Pencil Tool. 

That’s all to say that I have drawn Junko and Mikan so many fucking times that I can just, draw them without proper sketches now. I’m at a point where I just need to draw the head, torso, and legs for an anatomy sketch, and then with the G-Pen I can just, draw from there. That’s big for me personally, and also fucked up because god how even??? There hasn’t been a drop in quality either so far, i’m still able to refine the expressions and i haven’t fucked up with the arms too much yet, I’d even say it’s resulted in some of my favorite Junkos and Mikans period.

Now, the catch is that again, this is only Junko and Mikan. I could prooooobably get to this point with Mukuro eventually just because her design is much simpler compared to other DR Characters? I struggle with getting her colors right rather than linework, but that’s about it and still not really useful in my main line of work unless I memorize every character that’s ever existed, and it took like 150 fucking times for Junkan I can’t do that for an obscure RPG character that I might get commissioned once and then never again. 

It’s also not something that I think i’ll apply to my normal Junkan works, because I am a perfectionist to a fault when it comes to pieces I care about and I want to make sure every detail these is exact. I need to be meticulous for ship art like this, every detail is important. And I can maximize that with sketching.

This new skill is basically useful for one thing. Speed. 

I pride myself on my efficiency, even if I have waned over the years due to burnout and overwork, when I get into it I can fuckin move with my art. And so if I need to say, make a 28 page comic in under a month? Being able to mostly skip an entire phase of the art process is very, VERY useful, ESPECIALLY because it’s a comic. Something which generally takes more time than my normal art by nature of it’s format and what it involves. When making the Comic for Day 60 it was all sketches, which was equally fast but could leave small imperfections at the time that either went under my radar or I just let slide because i was trying to be efficient. 

This is basically perfect for having to speedrun a Junkan comic, it’s all the speed with the usual amount of visual quality.

So in short . . . I’m turning into a nightmarish hell machine but specifically for drawing Junkan. I am genuinely curious how much farther I can go up from here, like, what the hell else could I be capable of with this???? Am I just gonna learn how to fuckin beam the art onto the canvas with my brain???

Moral of the story is just get mind numbingly obsessed with a ship and I guess you’ll get better at stuff??? I have no idea, i’m still kind of processing the comedic value of what this year has been because I was desperate for these two to make out. 

As always, Reblogs, Comments, and Little Notes in the Tags are appreciated!~ They always make my day!~

[oxygen537art]

Dude where do you ever get the motivation and inspiration for ur work

The first thing that keeps me going is positive feedback.

The second thing is that drawing has become less of a hobby and more of an enjoyable habit. And I guess I have a passion for it.

I don't actually draw as much as it may seem. I do a maximum of three sketches a day and post one of them, leaving the others in the queue or to be refined into lineart or colour. Colour drawings are more difficult for me and I usually draw them once or twice a fortnight, and they don't involve complex rendering. If the artwork is too complex, I stretch the process over two or three days.

I try not to overwork myself, but hyperfocusing happens. I'll sit in front of a computer for 14 hours with little breaks or no sleep, but I'll do what I need and want to do, especially if it's something I'm wildly passionate about. Don't do that. It will be bad for your health.

But there are days or weeks when I have no motivation to draw at all. If I see that I'm not enjoying what I'm doing, I step away from it and try to occupy my free time with something else. When my brain is sufficiently rested, I go back to work.

I don't feel like I owe anyone anything. I draw what and how I want, I may experiment, there are no deadlines. I can be a perfectionist at times, but I try to accept all of my work, even if it has noticeable errors. My lineart isn't polished to perfection either, most of the time I just clean up the sketch or don't bother with neatness at all. The only time I pick on every line is when I'm working on commissions.

Drawing is a way to distract myself from my daily life and studies. Even though I'm studying at an art university, I'm going to be a graphic and UX/UI designer, where drawing is not such a significant activity. And that makes me both happy and not. (At least I won't be doing the same thing at work and at home, yay.)

Inspiration is unpredictable. Pinterest, Twitter, fanfiction, etc. are certainly a great source of inspiration, but even a smudged fingerprint on your phone screen or a pattern on the wallpaper can make something click in your brain. I'm also inspired by conversations with my best friend when we share ideas and discuss things.

[noritaro]

bestie asked how I rendered so yeah, kind of a tutorial? it's more like a step by step but alas

tutorial under read more

sketch/line art ► I don't do line art out of sheer laziness + I'm not very good at getting clean looking lines. My lines are always coloured and set to a multiply layer.

colour block + base colours ► the block is 90% of the time the characters skin colour, but if I'm feeling fancy I might go with other colours like I'm doing with this one, a light reddish pink

I do this because I colour everything in one layer

I use a mixing brush to sloppily throw in the characters actual palette

yeah it's very messy, but has a fun unpredictable variation in the colours you typically wouldn't get if you just threw in base colours like a normal person

shading ► continuing the trend of being absurdly sloppy with my process...

I like shading with multiply or burn layers, and highlights are usually done with overlay or add (mostly add) could obviously be done with any colour except full on black or white

after this I merge all my layers together for clean up

clean up ► the fun yassification part wooo!! essentially all I'm doing is just carving out the various shapes I want with a basic round hard mix + soft mix brush, further refining everything and making it not look sloppy

I always start with the face and then move out to other parts like hairs and clothes

Marco Bucci on YouTube has fantastic videos on painting shapes and he explains everything better than I ever could

Optional filters + edits ► boring part simply adding a paper texture over the piece using overlay, just makes everything look less flat and digital

profit ► yeah!! uhh thats really it honestly, I don't really do anything special lmfao

[sibillascribbles08]

Okay ramble that will probably not get anywhere but I will put it here anyway because I saw yet another post about people struggling to get any writing done. And someone in the comments made a good point. You write/draw so much more as a kid because you're less practiced and ergo less worried about the imperfections that may arise from just gunning it.

And this is true! And this is why I want to tell you if you are struggling to write much, learn to write like a kid again.

You know how with a lot of art you see processes and it always starts with really shitty thumbnails that have silly faces or just blobs of color? Then you have an actual sketch (during which the artist likely moves a lot of shit around on a digital canvas) and then possibly the inking phase or just painting which is more blobs that slowly get sharper and sharper the more the images is rendered.

Yeah uh, do that with writing. Going under the cut because long

Writing as a process is something that is unique to an individual, just like there's 800 ways to slap paint on a canvas. If you look at guide books for writing and none of it is sticking it's not cause you're a failure that technique is just not gelling for you.

And as such I can only speak from MY experience with it but like, here's how I generally stay on top of projects

A) Sketch phase! It's outline time baby! "Ughh but outlines suck" listen I know school made the outline phase of an essay the worst fucking thing ever but hear me out on this. Sure some people CAN write by the seat of their pants but in terms of long projects this does not work out for me. I'm inevitably gonna hit a point where idk where to go from there and it's so hard to map all that out in long form

Listen, outlines are not there to be formal. They're not even there to be fancy. This is time to get down the bare bones and if you have to make it only a paragraph long and then extend that paragraph into multiple then DO it.

Like hell, NONE of my outlines are formatted the same! Some are a paragraph per chapter. Others are just endless bullet points that I split up later. I'm sure in one book due to all the plotlines I'm just going to have a storyline for each character laid out in columns so I can draw lines between them. Whatever works.

And again, do not have to be formal, like here is a legit line in one of my outlines

As for the ruined building… Hypno will cover the damages……….. Right? : )

Go crazy.

B) Now that you have your baselines start working on the actual story. Do you like writing shit out of order? Do it, because with an outline you still have your baselines to reference for any important details you don't wanna forget "Remember [character] is supposed to get a scar in chapter five!" Or write shit in order, and every time you hit a lull consult those baselines to say "oh yeah that's where this chapter was going"

And hey, keep writing it like a kid if that's what it takes to get this crap down. Hit a fight scene you don't wanna write? Slap down some brackets. [Insert a fight scene here where [character] gets his head smashed in so he ends up with this concussion later like a dumbass]. Boom, done, worry about it later.

Worried the dialogue isn't flowing well? Slap open another document or grab some paper and write it out in a play format to keep it moving. Add in all the beats, expressions, and details after.

Not sure if this detail you're putting in is historically accurate? Leave an easy to search symbol in the doc so you can go back to it to research later.

Write the sappy shit. Write with poor grammar (but still like, comprehensible you know what I mean). Slip in adverbs to swap out with strong verbs later. Use a run on sentence.

"But it's gonna sound bad" Who cares who tf cares that's what editing is for ! You go back and refine that shit and clean up sentences and add in all the extra research and pull out the repetitive words.

You gotta quit treating writing like you're supposed to just swing your brush on the canvas and suddenly you have some beautiful scenery. There's layers. There's blobs that turn into refined shapes. There's blending and shading. There's fine lines and thick lines. And sometimes there's mistakes that you have to wait until it dries to go back over it again.

It is a process! Let yourself have FUN with the process.

Okay rant over.

[eggfeather]

hello! I really enjoy your art and I was wondering if you would ever consider showing the process?

kinda like a speed paint or a step by step about your style?

Ask and you shall receive!!

I will be demonstrating this is Sunnypelt of SkyClan! heres the time lapse!

To preface i use the default pen brush (set to size 2 w 69% minimum width) for sketching and “fill” brush (also set to size 2 with 100% mid width) on medibang! youll find it if you click the “add brush (cloud)” button

My process has two parts, sketching and colors, i only work in 2 layers total per cat, this process is very easy to break up into more layers, but 2 is easiest and cleanest for me

Starting w the sketch! i use two sketch colors, the lighter one to sketch out my general shapes. this is when i decide the cats individual characteristics, cheek fluffs, eye shapes, expressions, body type, ear type, all of that. its messy and loose. here for sunnypelt i decided to design her after her father sparrowpelt, i gave her most of his shapes, combined with tinyclouds ears, eyebrows and eye shape!

i go over it w a darker color, this is just refining and solidifying it all, its still messy but its very legible (to me at least). sometimes i go through and clean it up but i didnt want to tonight lol

then the colors! this one is where i have more thoughts! i wish i had more in progress shots but whateva! ill just explain my thoughts.

i start by going through with a base color (it doesnt necessarily have to be the final base color but i usually start with that since its easier) for her i used that orangish red color. i decided that by taking sparrowpelts base brown color and making it brighter and lighter. this is something i do a lot when deciding childrens colors, i change some combo of the hue, saturation, and value (rarely all three just to keep it similar enough). i did a similar thing w her darker red stripes, the white was just randomly decided bc it looked nice with the reds, and her eyes are directly picked from sparrowpelt

the lines! i take whatever color is overlapping itself and make it darker and shift it up (you use that color bar) or counter clockwise (if you use the wheel), it makes it look less flat and to me looks aesthetically pleasing

i kinda want to touch on why i make certain color choices too. i do not use straight grays blacks and whites, i think it looks flat and i dont want to look at it, so i always make gray cats just desaturated colors, it looks better! plus its easier to differentiate cats in a line up!

WOW! that was long! srry lol, but i hope i partially answered your question, feel free to ask more questions if clarification is needed :3

[zem-zem-zoom]

Howdy hoo ur art is beautiful and delicious and I want to eat it but how on earth do you render and color?

Hi there!! Thanks so much!!

Heres some other posts I've made about these subjects with some color choices and hatching! There's lots to talk about, and im not an expert, but I'd like to help 🫶 Long post under the cut :D

First of all, I'd like to start by saying that sketches for rendered pictures don't need to be anything complicated. Before i started coloring this way, i always assumed painting sketches needed to be extremely clean or detailed in order to be successful. I found though that i was wasting so much time and energy making a sketch just to cover it all in the process.

The most important thing to me is the blocking phase. Just like flatcoloring on a normal picture, I do the same for both lineless and painted styles. I can not emphasize enough how INCREDIBLY helpful it is to pick out a background color in this phase, not only is it going to impact your lighting, its going to impact your colors more than you think.

I don't personally work in black and white, but this might help visualize some things. When blocking in this picture, i filled this background gradient FIRST.

Again, a lot like flat coloring I blocked these colors underneath my sketch. My lighting on both characters was actually a mix of colors from my background, ive found that reusing a couple of solid base colors helps in general with unifying everything. When i start rendering, i render in layers over the sketch in order to refine or cover my black lines.

You can see for the most part that my original blocking layers are a majority of my rendering, and throughout the process i typically end up adding darker and darker shadows until my balance seems satisfying.

For the most part, the only way you can really get a hold on rendering is just messing around!! Experiment with using blending modes or none at all! Try using a color palette that gets you out of your comfort zone! (You can find lots on websites or images) or even better, try doing a painting study! Taking it step by step from blocking-> shading -> rendering really made it less intimidating for me, so i hope in some ways it helps you too :)

[fisherrprince]

wanted to ask, could we get a look in to how you put together your animatics?? I've been toying with the idea of trying to make one of my own, but I've got no idea where to start

oh yeah totally

though to be fair, a HUGE chunk of my time is spent listening to about 20 seconds of a song and imagining how the images move around like a little movie, and I refine a ton of stuff in my head before starting to actually put scenes down on paper. This happens with non-music boarding too, imagining different versions of how the scenes line up with dialogue/music. So step one: put a song on repeat and daydream for at least two hours. But, if you aren’t sure how to do this, I’d suggest looking at animatics, MAP projects, AMVs, animated musicals, fight scenes, etc. what do they do that’s cool? Imitate them.

after that, I have most of the main images with some blank spots im not sure how to fill until I put them down. I make something like this and get the compositions of each main image looking more or less okay in this form. This is also the stage I figure out the in between blank spots. I try not to have weird camera moves or other storyboarding don’ts, but some storyboarding donts are completely valid to break if you know what you want aesthetically. As usual. This one was actually pretty clean, but check out all the framing edits. i always have to make the frame bigger

If you really don’t know what goes in between things, don’t be afraid to focus on some little details of the scene, pull out and show us the setting, put some flowery symbolism on screen, give us some fun little comedic anime inserts, or do what cowboy standoffs do and build tension. What we used to do was draw paws stepping across the screen or eyes blinking, lol

next comes audio sync! I like to get the timing extant on copies of these rough thumbnails before moving on. It helps my brain work through smaller more animated movements + testing if the things I came up with for the blank spots work. and also just makes it happy. And also, most importantly, it tests if the compositions work. If you can see it, the whole sequence with mom was a blank spot until I sketched it. I usually do this step in roughanimator even if i don’t finish it in roughanimator. Keeps it very rough.

after this is just a lot of polishing and layers! For lots of small animatics, I just use roughanimator and leave it like that. It’s surprisingly good for a very basic program. But, for things that need tweens or lots of camera movement, I use toon boom harmony. It’s more powerful and is actually supposed to be used for animation, which. Yknow. I do. I tried storyboard pro, it wasn’t my favorite.

Here are some, I guess, miscellaneous more technical tips for making your animatics feel nice!

If you’re going for lots of movement, try out timing it so big movements or scene transitions line up with the spikes in the audio WAV. If it doesn’t feel right, move it a few frames BEFORE the spike/audio beat. Your brain usually wants to see something move barely before it hears it - this works for dialogue especially. BUT! Don’t feel like you have to do this for every beat. unless you want to feel like Wes Anderson, which you can do and I will not stop you.

If you’re going for something slower with not that much movement, try motion tweening! or adjusting something very slowly so we don’t linger on one still image for forever.

you don’t need crazy camera angles for everything, but put a few in there for spice. This all depends on your mood you want to cultivate. Slow = flatter, spacious, details; fast = lots of moves, weird angles, perspective; disorienting = slow/jerky weird angles etc etc. the camera has emotions built into it. Because the camera is you! surprise!

watch storyboarding tutorials. lots of people zoom in too much when they draw and I am not excluded. Also, keep in mind the eyesight rule. It’s hard for me to explain concisely but… you as the artist are always leading the viewers eye somewhere, with every shot you make. Don’t make them dizzy by having the center of attention jump around to six different spots for six shots straight - if you find yourself unhappy with a sequence, especially a fast one, see if your line of sight is going all over the place and try moving the subject of a shot or two somewhere else or having them move/gesture towards the new shot’s focal point so the viewers eye moves there naturally. I’m actually not great at doing this when words/lyrics are involved, pmv makers have my respect.

contrast is your friend. If you want to emphasize a big fast move or big bright image, put little slow moves or simple images right before/after it. and vice versa! this counts for camera too!

easy camera shakes are just 3-4 frames of cam down/up/down less/up less, a blank tween or two (easing back into normal), and then a key for your desired normal camera location. Or left/right, whichever.

your brain needs about six frames to fully register an object as being an object. If you want someone to see and really See it, rather than just get a glimpse of it and go "What was that!" It needs more than six frames.

don’t be afraid to experiment!!!!!! And don’t get overwhelmed! Everything I just described I MOSTLY do off instinct, which you’ll get a sense for after you make one. Or like…. Ten. Does it feel good in your heart? Then that’s what’s important. Find an idea you want to make move, figure out your limits (programs, attention span, drawing capability, make sure not to commit to a minute long amv if you dont KNOW you wanna do a minute long amv), and plan around that. When I was A Child, people on youtube were just making like three amvs per second and cringe hadn’t been invented yet so they were all mostly untrained unpolished and so so important and based to me. Stop thinking so hard about it. You gotta get that animatic out there into the world or it’ll start fermenting in your brain and make you sick. So what if it doesn’t turn out exactly the way you imagined it? You’ll have another idea tomorrow. And if it matters that much, you can always do it again. Go make! Good luck!

[pawlmtree]

do you have any tips to make linearting less sucky? I hate it with every fiber of my being. it always takes so long too. thanks!!

I just lie to myself and say I'm not doing lines I'm doing "the refined sketch" and it tricks my brain into getting less scared. Also tip: your lines don't have to be clean. Be free. Try rough lineart, try weird lineart, try only outlining certain parts of the work. Try lots of different brushes to find if any feel easier to use for lineart, or if any textures appeal to you and make the process more enjoyable overall. Stay strong o7 I also hate lineart but we can overcome this situation together

[hellonerf]

If you're comfortable, can you make a tutorial on how to draw in your artstyle? I'm very sorry for asking if somebody else have already asked

hello anon, thank you for asking! i will preface all of this by saying i don't mind if anyone takes inspo from my art etc. but i will probably be a little neurotic if i notice it in the wild and there's itches in my head about it. i'm trying not to let personal feelings get in the way of my principle of it here 🏇

i don't really know how to make a tutorial. i tried to draw something that could get concepts across, but it was really hard and i didn't like any of it so instead i'll just put the general process and "rules" i have in mind when i draw. 🙏 sorry if this is less helpful than if i'd use a drawing

the drawing process changes by how much i plan and whatever i feel like, but my general rule of all of this is to keep it as enjoyable for me as much as possible 😊 i start with a sketch.

if i want to shade everything in one layer ("render" even...) i go straight to color after this. this only works if i don't mind it being messy and choppy. i never mind choppy shading i find it charming personally but it will be harder to adjust perspective/proportion/composition mistakes here. i usually color under the sketch layer then i merge it all(with a backup ver out of habit) and just color over the lines and refine things. this way is not very time consuming because i don't care about messiness 🤷‍♂️

or, if i want to use lineart. i just clean up the sketch usually because my attempts to redo the energy in a sketch suck balls 🤷‍♂️ if the sketch sucks too i just try to redo it entirely. idk. sketch=lineart etc. my general rule for this is too keep things shaped and simple. i don't think my silhouettes are very good at all but i want to work on it lol. i don't like having to do details so i like avoiding them. sometimes a messy lineart can be more charming to me than a clean proportionate lineart? keep shapes in mind that you find cute ⛹️‍♂️ details add texture so you have to be careful with how you want that to go. uhhh my mind when doing lineart is too jumbled up i mostly go by intuition based on what i like in other people's art but that applies to any part of drawing

for lineart-related coloring umm ive changed shading styles a couple times here lol. but they can all usually be categorized into two. i'll simplify it with hard to soft shading 🙂 hard is like, "cel shading" i guess? it's solid. it's easier to do but also harder if the colors are too complicated. i usually do this in one layer with the lineart because i use procreate and i'm too lazy to do the selection shit 💢 i like colors a lot in art and i've mentioned how i do them before i think? i always fuck with it with tone curves and gradient maps and posterize if it'd work. just fuck around with anything and you'll start to learn about colors from there 👍 i avoid multiply and add/luminosity layer settings to shade. just because i think it looks bad on my art. and it's annoying to work with too. the hard soft shading thing is a spectrum kind of cause it's really just how many colors are used in one "object"? like skin can vary from one color base and one color shading or a gajillion colors to create texture with blush etc. but there's inbetweens where it's various colors but "hard" but also soft and hard.

soft shading is just straight airbrush. actually not really usually for me it's just me lowering the opacity of my pen as i draw and fucking around with the colors like improvisation. feels like painting but in a too stupid for traditional art way 🤤. but i've also used the airbrush a lot lately. i don't try to use airbrush in "objects" and art that need more texture, like trying to shape with airbrush is fucking hard. but i've done drawings entirely with airbrush tool before just to size it down so it's basically a blurry pen the lol. but for the other way i use the airbrush (where i block out objects and make a flat-ish gradient on it) that one is just exactly what it looks like i just make shapes under the lineart and then clipping-mask a color over it. and always always mess with the tone curve after 🤤 or maybe you can learn color theory for real #up to you

that's all that's really important i think? if you want to ask more you can. sorry if this was less helpful than you'd want i just don't rly know how to give an art tutorial i don't rly have like. a set idea for my artstyle. is not solid

[weirdcursedvaultkid]

hii!!! i’ve been following you for a long time now and i really love your art!! i’ve also been trying to learn how to draw so i was wandering if you’d have some advice for someone who’s completely new to this ??? pleek-

forgot to say this in the original ask, but of you have any tips on how to draw hair i’d thank you forever 😭 i’m really struggling with that

aw thanks! idk if im the best to ask for advice but hopefully you find any of this useful!

honestly it's really as simple as just drawing even if you think it looks bad don't get discouraged because it's all part of the process and you will get better when you are drawing on a regular basis. just look at the first drawings i had on here compared to my more recent stuff - the more you do it the better you'll get!

look for inspiration and references, its not cheating to use references as long as you are not straight up copying your reference 1 to 1. i like going on pinterest for inspiration especially for clothes! i also like to see what other artists are doing, instagram is also good for finding art inspo, i also found watching speed paints on youtube a good way of seeing how other people color and how to apply it to your own drawings

I'll talk more about what i do under the cut lol

for my process, i like to start off with a super messy sketch im talking chicken scratch. it's not supposed to look good its just supposed to give you a base for your drawing and allow you to figure out what you want to do.

then i start a new layer on top, lower the opacity of the initial sketch and i start drawing on top and refining everything so I have a cleaner sketch that's closer to the final drawing. this is usually where i finish figuring out the poses anatomy, hair, expressions, hands etc. it's still kind of messy but it'll feel more like you are filling in the blanks rather than starting from scratch

finally i do my lineart in another layer and for your lineart where you just make sure to keep your lines smooth and clean

Then i just do my base colors and shade, for this one i didn't really go all out with the shading so it may not be the best example lol, i just kept it simple which is ok! sometimes less is more it just depends how you want the final piece to look.

for hair specifically - i don't really have a tutorial, when i draw hair i just sketch out the shape i want the hair to have in the initial sketch, and then i had more detail when i clean up my sketch. I usually start by adding the strands that frame the face first or the hairline and then go out from there to the rest of the hair. I also don't draw every single strand, i tend to keep it more simple since i have a simple style

I found this tutorial on pinterest which pretty much how i go about it execpt i usually have a rough idea of the overall shape first and i don't go as detailed as the final result, i usually stop around the third step

i hope ANY of this was helpful and not too rambley! feel free to ask more if you have any more questions!

[iwearsober]

Crafting Eye-Catching Designs: Tips and Ideas for Custom Print T-Shirts

Introduction:

In the world of custom print t-shirts, creativity knows no bounds. From witty slogans to intricate illustrations, the possibilities for designing eye-catching t-shirts are endless. In this comprehensive guide, we'll explore a variety of tips and ideas to help you unleash your creativity and craft unique and memorable designs for custom print t-shirts.

Know Your Audience:

Understanding your target audience is key to creating designs that resonate with them. Consider their demographics, interests, and preferences when brainstorming design ideas. Tailoring your designs to appeal to specific groups will increase the likelihood of your t-shirts being well-received.

Stay on Trend:

Keeping up with current fashion trends and popular culture can inspire fresh design ideas. Incorporate elements such as popular hashtags, memes, or cultural references into your designs to capture the attention of your audience and stay relevant.

Play with Typography:

Typography can make or break a t-shirt design. Experiment with different fonts, sizes, and arrangements to create visually striking text-based designs. Consider mixing and matching fonts to add depth and personality to your designs.

Embrace Minimalism:

Sometimes, less is more when it comes to t-shirt design. Embrace minimalism by using clean lines, simple shapes, and limited color palettes to create understated yet impactful designs. A well-executed minimalist design can make a powerful statement.

Incorporate Humor:

Humor is a universally appealing element that can instantly make your t-shirt designs more engaging. Inject some wit and whimsy into your designs with clever wordplay, puns, or humorous illustrations that are sure to elicit a smile from your audience.

Experiment with Illustrations:

Illustrations are a versatile design element that can add personality and charm to your t-shirts. Whether hand-drawn or digitally rendered, illustrations offer endless possibilities for creativity. Experiment with different styles, themes, and techniques to create unique and visually compelling designs.

Create a Series:

Developing a series of related designs can add depth and cohesion to your t-shirt collection. Consider creating designs that follow a common theme or tell a story when viewed together. This approach can also encourage repeat purchases from customers who collect multiple designs from the series.

Think Outside the Box:

Don't be afraid to think outside the box and push the boundaries of conventional t-shirt design. Explore unconventional materials, printing techniques, or interactive elements to create designs that stand out from the crowd and leave a lasting impression.

Seek Inspiration:

Draw inspiration from a variety of sources, including art, nature, literature, and pop culture. Keep a sketchbook handy to jot down ideas or sketches whenever inspiration strikes. Additionally, browse online platforms, such as Pinterest or Instagram, for design inspiration and trends.

Solicit Feedback:

Finally, don't hesitate to seek feedback on your designs from friends, family, or peers. Constructive criticism can help you refine your designs and identify areas for improvement. Additionally, consider conducting focus groups or surveys to gather feedback from your target audience.

Conclusion:

In conclusion, creating unique and eye-catching designs for custom print t-shirts requires a combination of creativity, inspiration, and strategic thinking. By knowing your audience, staying on trend, experimenting with typography and illustrations, and thinking outside the box, you can craft designs that captivate attention and leave a lasting impression. Whether you're designing for personal expression, brand promotion, or profit, these tips and ideas will help you unlock your creative potential and create t-shirt designs that truly stand out.

[softbean]

You guys... I want to clarify something. So many of you reblog my pixel art pieces shocked at how I was able to draw them “square by square”.

(a polished pixel art piece of orym)

I’m sorry to burst your bubble but that’s not how pixel art works, at least not for me. I hope you won’t idolize an unrealistic belief and don’t hold me to an impossible standard. When things like that are said, I start to feel ashamed for “cheating” or “taking short cuts” because I’m not actually living up to your expectation that I’m drawing them square by square. Lines exist in pixel art. The bucket tool exists, so do layers. Even more amazingly, so do dithering brushes. I use procreate on an iPad, not MS paint with my mouse, because this is 2023. I don’t want my art to be appreciated solely for how “difficult” the creation process is—I want it to be appreciated for its content. Intentionally making art inaccessible may be a choice some artists make—and in a sense pixel art is a challenge like that, to limit your shapes and form and colour palette—but that’s what it is: a personal challenge, a stylistic preference. Making art hard can add to its value, but it shouldn’t be the only thing valuable about it, and “hard art” shouldn’t make you think that “easy art” is worth less. There is no easy medium. The amount of awe and ‘THIS IS PIXEL ART?!’ I get in comparison to the silence when I make art in my preferred medium makes me sad that the audience seems to take certain types of art media and styles for granted. There is no easy medium. And, I don’t find pixel art particularly harder than other media. Sure, pixel art style may be more unique, but it certainly isn’t barred from the same advancements in art technology that have developed in other forms of art, and it certainly shouldn’t be appreciated only for its uniqueness.

When people express awe in the “pixel by pixel” process, I get sad thinking they’ll never really know the kind of work that goes into refining a pixel art piece: the meticulous and tedious cleaning of lines (I don’t draw lines pixel by pixel, instead I draw a line and erase pixel by pixel), the overlaying of different dither brushes to create gradients from a limited palette, the block coloring that I do by hand, and the endless revisions I make to capture the feeling I want to convey. None of these are done pixel by pixel as if going left to right, top to bottom, none of these are done square by square like your color-by-numbers, but it doesn’t mean it was quick or easy. To me, my choice of art style doesn’t matter as much as the feelings I want my art to evoke, the impression that I want it to leave on your being, some ineffable part of you that responds without needing to break art down to its technicalities.

I’ve learned over the years that there is no cheating in art. If doing something will improve the look of your piece, and save you time, then that’s a win.

I know a lot of you don’t make art yourselves, and are of the mindset that anything that looks more difficult/time consuming to you than others becomes mysterious, feels cooler than things you think you’re more likely to be able to make yourselves. But I don’t like this view of art as something that is worth more the more untouchable it is. I like to think that art is everywhere, ubiquitous, and something that anybody with soul can make and regularly does make. It just takes the right lens to see the art in your own life for what it is. It’s not so far away. In fact, sometimes the closer to me art is, the more impact it has for me.

(a roughly sketched comic that resembles the doodles of a child)

Art comes from life, art is alive because we are alive, it is not its own mysterious separate thing. I wish more people would appreciate the art that we can make rather than the art that we can’t, and that more people would embrace the art in their lives as opposed to keep it at arms length like it’s something foreign.

Art is not talent. It’s not about what you’re born with or without, familiar or foreign. If society has put up definitions and parameters for what is considered “art”, to the point where you feel it’s impossible for you to make your own, then perhaps we should reexamine the ideals of our society that only sees artistry in perfection. In truth, art is hard work and dedication, and above all, to me it’s choosing to see the beauty in the most mundane things, in things that aren’t conventionally beautiful. That’s why I don’t want my art to be appreciated for how impossible it feels. I want it to be appreciated for all the ways you feel warm and represented and connected and understood by it.

[cartoonrival]

8.what's the most fun and the least fun parts about your process???

most fun is sketch layer esp refining expressions and poses.. i dont like actually coming up with poses but once i know what the pose IS i do like drawing dynamic poses. least favorite is LINEART. my fave way to do lineart which i dont do EVERY time but i do it if im committed is where i color the whole page black then erase around the lines instead of just drawing them down directly, it really helps me control line weight and i just like how it looks when lines come together. but it is so fucking tedious. its more fun than just drawing lines normalstyle though i hate doing that ..

^ example of the carving thing that does well to show how clean it looks

^ compared to when i just line it regular, its not BAD it just has less personality. unrelated but this is my fave panel in the whole comic lol

[redcherryyyy]

The Art of Writing in Style: Exploring the Unique Designs of Red Cherry Store's Notebooks

an era dominated by digital screens and quick taps on keyboards, the charm of penning down thoughts in a notebook remains unparalleled. A notebook is not merely a collection of pages bound together; it is a canvas for creativity, a personal space where ideas take form, and a companion that captures the essence of our thoughts. At Red Cherry Store, we elevate this experience by offering notebooks that are not only functional but also a true expression of style and elegance. Our collection features unique designs that cater to diverse tastes, ensuring that everyone can find a notebook that resonates with their personal style.

The Significance of a Well-Designed Notebook

A notebook is more than just a tool for writing; it is an extension of one's personality. Whether you're jotting down meeting notes, sketching out creative ideas, or journaling your thoughts, the design of your notebook plays a crucial role in enhancing your writing experience. A well-designed notebook inspires creativity, encourages organization, and adds a touch of sophistication to your daily routine.

At Red Cherry Store, we understand the importance of aesthetics and functionality. Our notebooks are meticulously designed to offer both, making them the perfect choice for anyone who values quality and style. From the choice of materials to the intricate details on the cover, every aspect of our notebooks is thoughtfully crafted to create a product that stands out.

A Journey Through Red Cherry Store’s Unique Designs

Our collection at Red Cherry Store is a celebration of creativity and individuality. We offer a diverse range of notebook designs, each with its own unique charm and character. Whether you prefer minimalist elegance, bold patterns, or artistic illustrations, our notebooks are designed to meet your specific needs and preferences.

Minimalist Elegance: Less is More

For those who appreciate the beauty of simplicity, our minimalist notebook designs are the perfect choice. These notebooks feature clean lines, subtle colors, and understated details that exude sophistication. The focus is on the quality of materials and the craftsmanship, allowing the design to speak for itself without the need for excessive embellishments.

Minimalist designs are ideal for professionals who want a notebook that reflects their refined taste and commitment to quality. Whether you're in a business meeting or a creative brainstorming session, a minimalist notebook from Red Cherry Store will enhance your image and provide a polished backdrop for your notes and ideas.

Bold Patterns: Make a Statement

If you’re someone who loves to stand out, our bold patterned notebooks are sure to catch your eye. These designs are all about making a statement with vibrant colors, geometric patterns, and artistic motifs. They are perfect for those who want their notebook to be a reflection of their dynamic personality and creative spirit.

Bold patterns are not just visually striking; they also serve as a source of inspiration. The lively designs can spark creativity and make the act of writing more enjoyable. Whether you’re sketching, journaling, or simply making lists, a bold patterned notebook from Red Cherry Store will turn every page into an artistic journey.

Artistic Illustrations: A Canvas of Creativity

For the artistically inclined, our notebooks featuring artistic illustrations offer a unique blend of functionality and creativity. These designs showcase intricate artwork that transforms the notebook into a canvas of inspiration. From whimsical drawings to detailed illustrations, each notebook is a work of art in itself.

Artistic illustration designs are perfect for writers, artists, and anyone who values creativity in their daily life. The detailed artwork on the cover sets the tone for the content within, encouraging you to explore your imagination and express yourself freely. With a Red Cherry Store notebook, your ideas will be housed in a notebook that is as creative as the thoughts it contains.

Classic Leather: Timeless Sophistication

For those who value tradition and timeless elegance, our classic leather notebooks are the epitome of sophistication. Made from premium quality leather, these notebooks are designed to age beautifully over time, developing a rich patina that adds character and charm. The smooth, supple texture of the leather provides a luxurious feel, making it a pleasure to hold and use.

Classic leather notebooks are perfect for professionals, executives, and anyone who appreciates the finer things in life. Whether you’re signing important documents, taking notes during a meeting, or journaling at the end of the day, a leather notebook from Red Cherry Store adds a touch of elegance to every task.

Eco-Friendly Options: Style with Sustainability

At Red Cherry Store, we believe that style and sustainability can go hand in hand. Our eco-friendly notebook designs are made from recycled materials and sustainably sourced paper, ensuring that you can enjoy a stylish writing experience without compromising on your environmental values.

Eco-friendly notebooks are perfect for environmentally conscious individuals who want to make a positive impact while still enjoying a high-quality product. The designs are both stylish and sustainable, offering the best of both worlds. With Red Cherry Store’s eco-friendly notebooks, you can write in style while contributing to a greener planet.The Craftsmanship Behind Every Red Cherry Notebook

What truly sets Red Cherry Store’s notebooks apart is the craftsmanship that goes into creating each one. We take pride in the attention to detail, the choice of materials, and the dedication to quality that defines our products. Every notebook is crafted with care, ensuring that it not only looks beautiful but also performs exceptionally well.

Our notebooks feature high-quality paper that is smooth to the touch and offers an excellent writing surface. Whether you prefer to write with a fountain pen, ballpoint pen, or pencil, our paper is designed to enhance your writing experience, providing minimal bleed-through and a satisfying texture.

The binding of our notebooks is another area where craftsmanship shines. We use durable stitching and high-quality adhesives to ensure that the notebook holds together well, even with frequent use. The binding allows the notebook to lie flat when opened, making it easy to write on every inch of the page.

Personalization: Your Notebook, Your Style

At Red Cherry Store, we believe that your notebook should be as unique as you are. That’s why we offer a range of personalization options that allow you to create a notebook that truly reflects your style. From monogramming your initials on the cover to choosing the type of paper that suits your writing style, our personalization options make your notebook one-of-a-kind.

Personalized notebooks make excellent gifts for loved ones, colleagues, or even yourself. They add a personal touch that turns a beautiful notebook into a cherished possession. Whether it’s a special occasion or just a thoughtful gesture, a personalized notebook from Red Cherry Store is a gift that will be appreciated for years to come.

Conclusion: Writing in Style with Red Cherry Store

A notebook is more than just a place to jot down notes; it’s a reflection of who you are. At Red Cherry Store, we understand the importance of style, quality, and individuality in the products you choose. Our unique notebook designs offer something for everyone, from the minimalist to the artistically inclined, ensuring that you can write in a style that truly resonates with you.

Explore our collection today and discover the perfect notebook that complements your personality and enhances your writing experience. With Red Cherry Store, you’re not just buying a notebook—you’re investing in a product that combines art, craftsmanship, and elegance to create something truly special.