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Gotta Get Good

@art-tutorial-reblogs-ahoy / art-tutorial-reblogs-ahoy.tumblr.com

Art tutorials, references and whatever else because sifting through my Likes is just way too difficult.
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For artists who have problems with perspective (furniture etc.) in indoor scenes like me - there’s an online programm called roomsketcher where you can design a house/roon and snap pictures of it using different perspectives.

It’s got an almost endless range of furniture, doors, windows, stairs etc and is easy to use. In addition to that, you don’t have to install anything and if you create an account (which is free) you can save and return to your houses.

Examples (all done by me):

Here’s an example for how you can use it

Great find, thanks!

OMG HEAVEN!!

Bless you!!!!

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art-res

Very nice resource for those looking to improve their perspective, composition, and background rendering skills!

Ill be saving this for later thank you

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calvin-arium

It’s here !! The guide for two-legged people who don’t know how to draw wheelchairs !!! 7 pages of infodump ! Disclaimer : I don’t know everything, I have one (1) experience of wheelchair user who used both bad and good chairs, and I share what I learned.

Image description :

1) Calvin in his wheelchair saying “yo” under a huge title “how to draw manual wheelchairs properly by Calvin Arium, a wheelchair user comic artist”.

2) A character says “my character self propels in a chair that was outdated in 1970 lol” Calvin says “so it looks like you two legged people don’t know the difference between an hospital chair and a chair made to be independant” an arrow point the crapppy chair, saying “we never want to see this again”

a bubble says “the hospital chair is extremely unpractical, tough considering it’s cheaper than a good custom chair a lot of us have only this”

3) a character hurt himself trying to reach the wheels of the hospital chair. Several arrows point why the chair is unpractical : “high backrest restrain shoulders movement” “huge armrest restrains wheel access” “separated footrest : amovible, cheap, bulky” “x structure, foldable but heavy” “huge front casters for stability” “heavy wheels”

4) Several arrows point an active wheelchair (the KSL by Küshall) : “usually no armrest” “a low backrest allow more movement” “light, design, ferning expersive” “special cushion to avoind injuries” “knee angle is usually 90°” “one single piece of frame, sometimes entirely welded” “weight : from 4 to 10kg” “often rigid” “center of the wheel is the center of gravity” “higher quality wheels : less spikes”

5) A hand grab different parts of the wheel, pushing harder in the second half. Bubbles says “some have gloves, some don’t. The hand must grab the biggest area possible. Less movement = more energy. This is a common but not only way to push.Calvin is on his back wheels, rolling on grass and dirt bubble says “popping a wheelie is when a wheelchair user rolls on their back wheels to roll on every complicated surface.

6) several drawings illustrate the folding frame, the ergonomic but rigid and expensive backrest, the separated footrest (only for folding frame), the handles, the folding handles, athe amovibles handles, or no handles, the cool fancy loopwheels, the pretty custom colors 

7) More Features ! The fancy rigid-foldable frame, the anti tippers (sometimes used by beginners), the motorization (wheels, smart drive) when propelling yourself is difficult Calvin says “and now vroom vroom motherfuckers”

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Any tips/suggestions for drawing full bodies/anatomy?

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pro tip for drawing full bodies: use silhouettes! it saves you a lot of time to figure out shapes and poses beforehand!!

here’s me sketching on a blank canvas. a total mess. figuring out body structures as I go … lots of erasing and readjusting.

using a silhouette makes this step so much easier. once you’ve put down your rough body shape you can just build your character around it and don’t need to think about body parts too much! hope this helps!

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galwednesday

The single best piece of writing advice I ever got was from a professor teaching a playwriting class, who told us that in every scene, especially scenes that were just dialogue, every character should want something. Making every character in a scene have a goal is an easy way to avoid dialogue that’s just exposition, and to make sure your dialogue drives the plot forward and/or reveals characterization. 

It doesn’t have to be complicated or super weighty–as long as the characters have a goal, there will be tension in the scene even if the goals are small. Character X wants to borrow a pen, and character Y wants to make a good impression on character X. X wants to insult Y until they go away, and Y wants to annoy X by pretending not to notice the insults. X wants Y to give them the last slice of pizza, and Y is super full but still doesn’t want X to have it. No matter what your character’s goal is, it will reveal something about who that character is to the reader, and the conflict between your characters’ goals will give the scene momentum.

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Some of the best writing advice I ever got was if you’re stuck on a scene or a line, the problem is actually about 10 lines back and that’s saved me from writer’s block so many times.

I feel like I need an elaborate explanation

Often times, I find myself stuck on what a character should say next or what should happen in a scene to connect A to B or so on. When this happens, I fall into the trap of writing and rewriting the same few lines over and over, and becoming more and more dissatisfied every time until I give up. 

But problem is almost never actually whatever line I’m trying to write at the moment; the issue is the stuff leading up to the line. Maybe there are structural issues with the set up, maybe I wrote a bit of dialogue that was out of character leading to a discussion that doesn’t make sense, maybe I’m missing a vital piece of exposition or expositing too much. It could be a lot of things, but the important part of the advice is to look back and be willing to consider changes to something earlier in the work (even if you’re really attached to like a piece of dialogue or a particular sentence or something) instead of trying to find a way to force out a scene that’s not working.

That makes a lot of sense. Thanks for explaining!

This is really helpful!

Woah! I never thought about that! Thanks!

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bunabi

Small Tips For ClipStudio

I have some hours before work so I’ll use them to actually detail why I’ve found CSPaint to be so efficient for bastard-aligned painters who like to take shortcuts.

This will seem familiar to most of you guys, but this functions a little bit different from Photoshop. It turns everything you draw on the layer into editable curves, but retains the aliased smoothness of an ordinary raster layer. Practically a cheat to access the whole suite of amazing tools CS offers for lineart. Such as:

The vector eraser is The Best™. You can be as messy as possible and this tool erases the excess. One pen-flick and it’s done. Much faster than cleaning it up by hand. You can also tweak the settings of this brush to encapsulate more/less lines as you erase but that’s getting a little more involved. Anyway, last thing:

Maybe the only thing better than the vector eraser. There are multiple settings, but these three are the most handy. You can smooth wiggly edges, connect broken strokes, and tweak the width/weight to exactly how you want it. This also has a ton of settings you can play around with. It’s great!

There’s a lot more tools you can use, but you get the point! It’s a really good drawing program. I recommend it!

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busket

how to draw sharp teeth and have them make sense: a tutorial

so you want to draw a character with sharp teeth? that’s cool! you have a lot of options. like most things, how you draw fearsome teeth can be improved by looking at nature and i’m gonna show you how.

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siins
Anonymous asked:

You probably get a billion asks a day asking you for tips and stuff but in the hopes that mine is one you get to read,, Do you have any tips for drawing mouths and teeth?

i think a good tip is to learn the different kinds of teeth our mouths hold and then build off of that formula for squish n stretch for cartooning.

if you wanna draw good monster mouths (or just.. people mouths too), look at actual animal mouths (or people mouths) and what sorta teeth they have and also for what purposes and why specific teeth are designed the way they are in nature. cause i mean… you could always just draw a jagged line for teeth (ie ‘’shark teeth’’) but imo it’s always just… extra nice looking and cool if you actually draw stuff so it makes sense! it shows!

this is a rly good post imo! covers the basics and has nice examples.

another tip is that sometimes simple stuff works best. that’s why i draw just a ‘’slab’’ of white for teeth most of the time, cause especially for people, if you draw every single tooth really detailed, it most often just turns out looking sorta creepy! unless im going for the creepy, i usually leave the teeth in pretty simple, big shapes.

imperfections are interesting! draw that crooked or gapped teeth mouth. missing teeth also add character. there’s… a lot of fun you can have w teeth design alone lol.

tips for drawing mouths tho…. hmmmm… well. i guess it’s more of a style quirk more than anything but i like to draw mouths that are… more like a hole in the face or something that breaks the face shape rather than just a projection on the surface of the face? if that makes sense lol. i like to draw mouths that the face has to adjust to rather than drawing all sorts of expressions on top of a never changing face shape.

my point being something like this. i feel like this is a ‘’it’s my style’’ kind of a situation so, whatever i guess. it’s not like i choose to use ‘’correct’’ perspective myself most of the time lol. also…. i like to push stuff.. pushing expressions to the extremes doesn’t Always work but boy howdy are they fun to draw lmao..

as to why i draw mouths like i do, my absolute favorite part abt them is that lil shape that they do and i exaggerate it lmao… so i guess my tip here is……… u guessed it………. look at a bunch of photos of people.

iiiii hope any of this is helpful, i feel like i could ramble and preach abt how much teeth give to a character and how fun and important is like… mouth acting or whatever lmao so i will just stop for now. writing down tips is always kinda… very tricky. also art is kinda? subjective? so. take whatever advice you will from this.

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Good stuff.

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eerian-sadow

This. This is good fiction writing advice. I really appreciate how it was formatted as “this is a common problem, here is a solution to try in your own work” and not “oh god, don’t do that!” without any extra help. And I extra appreciated the “don’t rely on adverbs” bit, because they do have their place but they aren’t the only way actions can be emphasized.

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caffstrink
Anonymous asked:

hi! i absolutely love your art and youre one of my top art inspirations! if its ok to ask, how do you choose your colours? theyre always so bright and the colours always fit so well together, i was wondering how you do it :D

first, of all, thank you so much! it actually flatters me a lot to hear it ;__;

secondly… honestly… i feel really bad because i dont know how to answer you?

trying out vibrant colors is something rather recent to me? i think ive only tried them a couple of times in the past. im trying really hard to think of a way to explain how i pick colors (because most times i do it at random and i just think of what would look nice together, i experiment a lot) but i think it all boils down to how much i hate these two:

 i try to avoid them at all costs. with red i try to replace it with orange or pink and green i try to replace with a more blue-ish tone or more yellow. from there on i can kind of build a palette? 

i do follow some color theory rules tho, like using warm colors for light and cold colors for shadows. that and contrast is usually good, but if you overdo it you will make your art too vibrant and it will hurt people’s eyes. 

about color testing, i do it a LOT (usually before i finish the artwork so i already have an idea how to color it) until i know what combinations look good together. like… its a lot of trial and error but once you figure it out you’ll know what combinations look good. that and you should also look at how other artists color, because you always end up learning more stuff from them

generally my rule of thumb is that the closer to pink, the shadow should be closer to purple; and the closer to yellow/green, the shadow should be more cyan

i think midway through writing this i realized my answer has not been helpful at all, im pretty sure im giving bad advice and someone will tell me to shut the fuck up, and its 7 fucking AM and im sleep deprived so here you go. my best attempt at trying to explain this mess of a process

TLDR: my color picking process consists of me trying my damn hardest to not use green and red

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