AHHHHHHHHHHH will you please do a tutorial on how you did the trees in your magical perfect astonishing amotional background??
Anonymous asked you:Because trees are fairly easy, I did a quick tutorial.Please remember that there are alot of other types of trees too though, but they should follow the same concept. If you’re really stuck, look at references and observe the trees you’re trying to draw. No one really taught me how to do them, it’s really just from observing. Good luck and hope this helped :)
Just when you thought you knew everything about boobs… NSFW?
My darling friend Chizzi mentioned that there are a lot of booby tutorials out there are just predrawn boobs with the artist going HEY LOOK! HERE ARE SOME BOOBS! but not many that actually talk about the anatomical structure, and where to put the lines. I was like, “Hey, I can probably whip something up.” And so I spent my thanksgiving making this.
Proportions probably aren’t exact, but I did my best. I also didn’t explore the various body types, but perhaps I could do a separate tutorial someday. I hope you find this tutorial useful :)
All photo references used in the tutorial were found on The Drawing Script. Credits to each photo belong to their respective owners.
If anyone has a source for this, please let me know.
aaaaah boobs don’t work like that
The girl is way too skinny. Boobs don’t randomly go out way past the width of the chest. And boobs that are that big aren’t usually that perky. Gravity pulls them more downward and less forward.
Drawing boobs this way may look sexually appealing to viewers, but anatomically it’s wayyyyy inaccurate.
/SHAKES ON THE FLOOR IM HAVING
AN ART ATTACK
OMFG I… I will try this out asap wow
What a good idea
I used to do this. Why did I stop??
Perspective in Storytelling 1
Artists! I am going to make a series of write-ups on how I use perspective as a storytelling tool. To me it’s the second-most important element of storytelling, after acting. But that’s more because bad acting ruins any good story. In the case of perspective, it’s all about making a story more momentous.
Process-wise, I use digital perspective grids, and at one point created a Photoshop file and an accompanying tutorial on how to use them—it contains two main grids, 1-point and 2-point. I find it’s all I need…I morph them using the transform tools to become any sort of grid I want.
I don’t start with the grid, though. First I draw the thumbnail (at 50% print size), scan it, and then I apply a grid that matches what I drew. That’s when I print it all out at 1.25 print size (the size I pencil and ink at). I tape it to my board and use a lightbox to trace the thumbnail, and let the perspective grid guide me as I draw.
Anyway. Most of these installments will focus on one panel at a time. I’ll start with examples of 1-point perspective and move to 2-point and beyond, later. FYI, I probably draw slightly more panels with 2-point perspective than 1-point, but they’re fairly even, and I usually have at least one of each on a page.
Today we have the most common reason I use 1-point perspective, which is when something is straight-forward. It helps readers focus on the words, and it can also make it feel like the panel lasts a shorter time.
I don’t even know if it works this way in actuality, but I have a theory that people HEAR things when they read comics…if the comic is done successfully. I try to use tricks that add or detract from the noise, just like a director might do with a movie score. You make things more complex and it’s as if there’s accompaniment to what’s going on. And in this case with a simple, 1-point perspective, I’m taking the music score away. The silence is especially important at this moment because her night is about to get pretty crazy.
I also use 1-point in this panel because Eve is very matter-of-fact about what she’s saying. She needs to know everything is stable and even tells the mannequin not to move.
Where I put that singular point is always semi-intentional. Semi- because I don’t actually think, “Okay, let’s put that point here…” when I’m thumbnailing. But when I see where the point ends up, I always know the reason it’s there. If you look this time, the point is around where Eve’s elbow is. It’s about evenly between her and the mannequin, so now we have equal focus on both. Yet she’s backing away from the perspective point—the stability she’s created. I also have the horizon lower than her head because that makes it a little more unstable, too—and makes it feel like she’s being watched. If the horizon is at the level of her eyes, it’s as if we are seeing things from her perspective.
For more perspective posts, click here!
THIS IS A LITERAL GODSEND
BACKS AND SHOULDERS HAVE ALWAYS BEEN HELL
Bone portfolio for LD class from first year lol. I’m still fond of the drawings… (though the black and white ones are from like 4 years ago lol wtf)
Torsos tips from Anatomy for Sculptors
I have an Anatomy Intensive class on Torso’s-Front and Back this term so expect a lot of information relating to it being put up.
I think regardless of style or personality, your character should run properly. Awkward run ruins everything.
Don’t believe me? Try running the wrong way, see how far that gets you.
For clarity’s sake: the difference between right and wrong here is the arms. Your arms travel opposite your legs.