vaeciorolefrex

[vaeciorolefrex]

Have been on a quest to better understand insect mouthparts, here're breakdowns I did on mantis, but a lot of the basic structure applies to most insects with chewing mouthparts Here's also a very nice video that covers all adaptations and names all the individual parts:

[vaeciorolefrex]

Do u have any advice for artists who draw ridiculously slow???

draw faster

[vaeciorolefrex]

How I Animate

The Technique:

I draw the frames and then I use the liquify tool to push the lines into the next frame and redraw them where I need to. This allows me to keep the lines consistent, but gives me the control of frame by frame animation bc I am still making each frame manually! I also use 3d models as reference to help me with the angles! Super important to use reference while you animate (and with art in general), if youre no good handling 3d models then act it out and record yourself!

The Theory:

i think most people are at least loosely familiar with the 12 principles of animation (if youre not, heres a 2.5 minute video showcasing them!), but may not necessarily know how to employ them. the main 3 i tend to focus on when I animate is rhythm, telegraphing, and inertia so ill cover those there 👍

1. Timing & Rhythm

Timing is how you space out your frames both in how long an individual frame is held for, and also when you drawn an inbetween of two frames you can favour one frame slightly more than the other instead of drawing the exact average of the cels, giving the favoured cel more timing weight.

Left line has the cels evenly spaced out on the timeline, right holds the first cel for longer and the second cel slightly favours the last frame. It creates a more interesting rhythm to the animation! Rhythm is how I think of animation timing. Theres a beat like a song to every animation I make, and creating an interesting beat is what makes an animation fun to watch (for me, anyway):

2. Anticipation / Telegraphing

Before I animate a big change in movement, I like to telegraph that its coming. Usually this is doing a little counter movement in the opposite direction, but thats not the only way to telegraph a motion, e.g. eye movement can telegraph a head turn!

3. Follow-through / Overshoot / Inertia

Unless the movement is mechanical, it wont come to a hard stop and will have some level of bounce or easing out to it. How much "bounce" you add will have a big impact on how the animation feels, but a very subtle bounce will add a natural feeling to the end of a motion.

Secondary animations will use a lot of this, note that the head and the hand have a small amount of continuous motion (primary animation), and then the hair has a lot of bounce and inertia (secondary animation which reacts to the primary animation). Note the different amounts applied to the braid vs the sideburn vs the bangs

anyway! I hope this was insightful ❤️ if you like my art you can commission me by the by :)

[vaeciorolefrex]

really helpful technique ^ once you know how to divide by halves and thirds it makes drawing evenly spaced things in perspective waaay easier:

[vaeciorolefrex]

tutorial idea: how to draw teeth / toothy smiles!! i think teeth are difficult for a lot of artists, esp me. im terrible with drawing smiles with teeth. So I would really appreciate if you made a tutorial for teeth! /gen /nf. Thank you.

Your wish is my command, dear anon!

[Transcript]

->Gums show a little

→ Smiling pushes cheeks out

Mouth corners look like triangles with lil' hooks

A closed-mouth natural smile will show the top teeth only

There are four incisors (the flat ones) followed by a canine & five molars on either side

I usually group the incisons together fon a more stylised look

While smiling, the lips stretch and look thinner

Start with simple shapes and work your way up to detail!

[vaeciorolefrex]

btw. i made this quick guide of some of the natural size and proportion reference points in the human body. of course this all varies even irl, and you can stylize however you want, so ymmv but thought it might be helpful for some folks.

[vaeciorolefrex]

Redesigned my old Hollow Knight OC, Waxwyrm, for a little bit of fun

I haven't drawn her since 2020 and in retrospect her design was a little too mammalian for my liking, so tightened up her limbs and tweaked her proportions to pull her into a more "bug-like" shape without making her unbalanced.

I think it's a big improvement teehee

[vaeciorolefrex]

Helpful things for action writers to remember

Sticking a landing will royally fuck up your joints and possibly shatter your ankles, depending on how high you’re jumping/falling from. There’s a very good reason free-runners dive and roll. 

Hand-to-hand fights usually only last a matter of seconds, sometimes a few minutes. It’s exhausting work and unless you have a lot of training and history with hand-to-hand combat, you’re going to tire out really fast. 

Arrows are very effective and you can’t just yank them out without doing a lot of damage. Most of the time the head of the arrow will break off inside the body if you try pulling it out, and arrows are built to pierce deep. An arrow wound demands medical attention. 

Throwing your opponent across the room is really not all that smart. You’re giving them the chance to get up and run away. Unless you’re trying to put distance between you so you can shoot them or something, don’t throw them. 

Everyone has something called a “flinch response” when they fight. This is pretty much the brain’s way of telling you “get the fuck out of here or we’re gonna die.” Experienced fighters have trained to suppress this. Think about how long your character has been fighting. A character in a fist fight for the first time is going to take a few hits before their survival instinct kicks in and they start hitting back. A character in a fist fight for the eighth time that week is going to respond a little differently. 

ADRENALINE WORKS AGAINST YOU WHEN YOU FIGHT. THIS IS IMPORTANT. A lot of times people think that adrenaline will kick in and give you some badass fighting skills, but it’s actually the opposite. Adrenaline is what tires you out in a battle and it also affects the fighter’s efficacy - meaning it makes them shaky and inaccurate, and overall they lose about 60% of their fighting skill because their brain is focusing on not dying. Adrenaline keeps you alive, it doesn’t give you the skill to pull off a perfect roundhouse kick to the opponent’s face. 

Swords WILL bend or break if you hit something hard enough. They also dull easily and take a lot of maintenance. In reality, someone who fights with a sword would have to have to repair or replace it constantly.

Fights get messy. There’s blood and sweat everywhere, and that will make it hard to hold your weapon or get a good grip on someone. 

A serious battle also smells horrible. There’s lots of sweat, but also the smell of urine and feces. After someone dies, their bowels and bladder empty. There might also be some questionable things on the ground which can be very psychologically traumatizing. Remember to think about all of the character’s senses when they’re in a fight. Everything WILL affect them in some way. 

If your sword is sharpened down to a fine edge, the rest of the blade can’t go through the cut you make. You’ll just end up putting a tiny, shallow scratch in the surface of whatever you strike, and you could probably break your sword. 

ARCHERS ARE STRONG TOO. Have you ever drawn a bow? It takes a lot of strength, especially when you’re shooting a bow with a higher draw weight. Draw weight basically means “the amount of force you have to use to pull this sucker back enough to fire it.” To give you an idea of how that works, here’s a helpful link to tell you about finding bow sizes and draw weights for your characters.  (CLICK ME)

If an archer has to use a bow they’re not used to, it will probably throw them off a little until they’ve done a few practice shots with it and figured out its draw weight and stability. 

People bleed. If they get punched in the face, they’ll probably get a bloody nose. If they get stabbed or cut somehow, they’ll bleed accordingly. And if they’ve been fighting for a while, they’ve got a LOT of blood rushing around to provide them with oxygen. They’re going to bleed a lot. 

Here’s a link to a chart to show you how much blood a person can lose without dying. (CLICK ME) 

If you want a more in-depth medical chart, try this one. (CLICK ME)

Hopefully this helps someone out there. If you reblog, feel free to add more tips for writers or correct anything I’ve gotten wrong here. 

[vaeciorolefrex]

HII my character & shape design tips PDF is now available! ^_^ hope you enjoy !!

BUY HERE or HERE

[vaeciorolefrex]

Collection of images and memes for anyone who doesn’t know what to draw

[vaeciorolefrex]

being a self-taught artist with no formal training is having done art seriously since you were a young teenager and only finding out that you’re supposed to do warm up sketches every time you’re about to work on serious art when you’re fuckin twenty-five

[vaeciorolefrex]

i watched one (1) video on how to draw hands that changed my life forever. like. i can suddenly draw hands again

these were all drawn without reference btw. i can just. Understand Hands now (for the most part, im sure theres definitely inaccuracies). im a little baffled

[vaeciorolefrex]

for those of you who remember cgtextures circa 2008, texture.ninja has a large repository of public domain textures without annoying hoops to jump through.

[vaeciorolefrex]

Made a twitter thread of the brushes and textures I use!! Wanted to share them here too

Links for everything can be found here

[vaeciorolefrex]

5 Properties of Light

http://www.drawsh.com/2015/01/5-principles-of-light.html?m=1

By Drawsh 

I also recommend checking out the PSG Art Tutorial and looking at the lighting/value section, which is an amazing resource. 

Thanks for reading! If this post helped, please consider reblogging it or sharing it with your friends! ❤️

More useful articles and resources / support Art-Res | my art tumblr | Idea Generator | Check out the Art-Res Anatomy Ebook!

[vaeciorolefrex]

I was talking shop with an artist in the studio today and I shared this page from Andrew Loomis, which might be the single most valuable page I've ever encountered in a how-to-draw book. I can't BEGIN to say how many hours this "hanging figures on the horizon" technique has saved me.

(EDIT: Over on another site, someone said they didn’t understand how to read this pic, so maybe adding a second pic and some explanation will help?)

Let’s say I want to draw “Joe” standing further back. I need to know where to place him so he looks like he's the same height, even though he's further away. If I get it wrong, he’ll look giant or tiny.

I can do that by making sure that the horizon cuts thru Joe AT THE SAME HEIGHT, no matter how close or far away he is. In the original picture, it cuts thru the original Joe at the waist.

So let’s look at three different Joes.

A: Wrong. Horizon goes thru his knees. In this context, he’s a giant.

B: Correct. Horizon goes thru his waist, just like the original Joe!

C: Wrong. Horizon goes thru his head. In this context, he’s tiny.

[vaeciorolefrex]

Excellent tutorial to drawing cubby body types

“Some chubby guide for y’all!”

Source: paggiart on twitter