Art Tutorials

My dad passed away last Monday and we need as much help as possible. If you can’t donate, please consider reblogging. Thank you very much.

My dad passed away last Monday and we need as much help as possible. If you can’t donate, please consider reblogging. Thank you very much.

My dad passed away last Monday and we need as much help as possible. If you can’t donate, please consider reblogging. Thank you very much.

My dad passed away last Monday and we need as much help as possible. If you can’t donate, please consider reblogging. Thank you very much.

Notes for an Anon who asks, “ Hey Justin, thanks for your reply earlier. Just wanted to expand on my previous ask - do you have any tips for achieving colour harmony across an entire painting? I often feel like the objects in my paintings look disjointed, like I haven’t chosen the ‘right’ brown for trees or the ‘right’ green for grass when I use opaque brushes, this isn’t so much of an issue when I’m painting a single object or character but when painting an entire scene I find it very difficult to tie everything together. “ btw, this is COMPLETELY UNACADEMIC- I mean, parts may be “academic” but this is not meant to be a textbook. Terms are used VERY CASUALLY and the information is not at all comprehensive. This is an extremely brief superficial look at the term “Color Harmony”. If you want ACTUAL color education, either take Sam Nielsen’s Schoolism class, or get James Gurney’s Color and Light book, or do both!!!!! That said, I hope it helps some folks!

How to Draw a Damn Fine Ass Top Image, Row 5 & 6 Row 2:  Drawing People by Barbara Bradley Row 3 Row 4 Row 5 Bottom Image

If you’d also like to help a little, reblogging this would be awesome. Thank you very much!!

ALSO I FORGOT THE LINK http://mari.storenvy.com

Since all my braincells seem to be devoted to school right now and none of the asks in my inbox are jumping out at me, I thought I’d answer this one with a quick tutorial.

Tuesday Tips - Floating Hands I use this a lot when storyboarding a first pass of a sequence. Placing hands in the right, most appealing position can be tricky. In order to create a clear silhouette for the hands, I often draw them “floating in the air”. Then, using my general knowledge of anatomy, I just “fill in the arms”. This way I can create a much more expressive and clear pose than if I was just radiating out of the torso. That’s when structure and anatomy can get in the way of a clear message. And hands carry a lot of meaning, so I want to make them as clear as possible  for my audience to see them. I would say the same applies to life drawing. Since they often don’t carry the body weight (legs most often do), I feel like i can take the freedom of changing their position slightly to make a better visual statement. -n

by Thomas Romain (Space Dandy, Code Lyoko, Basquash, Cannon Busters)

This image has been created for Bear & Bird’s upcoming Ghibli homage show. <3 The original painting will be there at the gallery for sale, maybe with a few prints in attendance as well! This painting was pretty quick and simple, so I thought it would be fun for me to do some progress shots and try to describe what happened the painting was made. 

I know some of you need this! (you don’t need to have giant or tiny characters either. it’s a great ref for everyone!)

Here is the link: http://www.bodyvisualizer.com/  

Tuesday Tips - SHAPES IN FIGURE DRAWING Loose, gestural sketching is always appealing and energetic, but sometimes, certain poses aren’t as energetic or expressive enough to express through gesture drawing. Drawing with shapes in mind is another way to approach certain poses, especially when the model is wearing loose clothes or when the poses are more “closed in”.  -n

[From various sources.]