art tutorials and stuff

Again, not mine. But omg this is so good aaaaaaaaaah

setup crack

download these two then setup paint studio right click one of the icons after its done and click “file location” copy the crack files into the main paint studio file then click on the crack.exe till it says ok open paint studio

adobe animate:

Found some hands tutorial by me

No more melted tomblerones or mising skulls, yyeann!

This is my basic process for pretty much everything I draw. The key is understanding the shape of the garment you’re trying to draw and the shape of the body part you’re putting it on.

Drawing the body first forces you to make the shoe, hat, or clothes fit that body. With practice you’ll be able to skip some steps. This method works the same no matter the perspective or pose. It just relies on your knowledge of what a hat looks like from above, or what the bottom of a shoe looks like. When in doubt, just google refs. Don’t necessarily need the exact angle you’re trying to draw. Look at different pics to give you an idea of how it works in 3d.

Shoes are always a bit tricky because feet are a stupid ass shape.

I got a lot of asks about this so I made a tutorial on how I was able to emulate the 80s aesthetic, please keep in mind I’m not an expert and what I put here is just what I personally did. I hope you guys like it and hope it helps

adriofthedead:

sweetappletea:

ohcararara:

creativeinspiration:

Color Palette Generator

I’m not sure why I just found out about this but….amazing! So fast and simple!

MAGIC.

Instant bookmark.

oh my shit ♥

This is lovely! I’d also like to recommend Design Seeds for colour schemes.

We live in a pretty great digital age and we have access to a ton of amazing tools that artists in past generations couldn’t even dream of, but a lot of people look at a cool trick and only learn half of the process of using it.

Here’s the missing part of this tutorial:

How do you populate your backgrounds?

Well, here’s the answer:

If the focus is the environment, you must show a person in relation to that environment.

The examples above are great because they show how to use the software itself, but each one just kind of “plops” the character in front of their finished product with no regard of the person’s relation to their environment.

How do you fix this?

Well, here’s the simplest solution:

This is a popular trick used by professional storyboard and comic artists alike when they’re quickly planning compositions. It’s simple and it requires you to do some planning before you sit down to crank out that polished, final version of your work, but it will be the difference between a background and an environment.

From Blacksad (artist: Juanjo Guarnido)

From Hellboy (Mike Mignola)

Even if your draftsmanship isn’t that great (like mine), people can be more immersed in the story you tell if you just make it feel like there is a world that exists completely separate from the one in which they currently reside – not just making a backdrop the characters stand in front of.

I’m a 3d artist and have been exploring the possibilities of using 3d as reference for 2d poses. I want to add a couple of tips and things!

Sketchup is very useful for environment references, and I assume it’s reasonably easy to learn. If you’re interested in going above and beyond, I highly recommend learning a proper 3d modeling program to help with art, especially because you can very easily populate a scene or location with characters!

Using 3ds Max I can pretty quickly construct an environment for reference. But going beyond that, I can also pose a pretty simple ‘CAT’ armature (known in 3d as a rig) straight into the scene, which can be totally customized, from various limbs, tails, wings, whatever, to proportions, and also can be modeled onto and expanded upon (for an example, you could 3d sculpt a head reference for your character and then attach it to the CAT rig, so you have a reference for complex face angles!)

The armature can also be posed incredibly easily. I know programs exist for stuff like this - Manga Studio, Design Doll - but posing characters in these programs is always an exercise in frustration and very fiddly imo. A simple 3d rig is impossibly easy to pose.

By creating an environment and dropping my character rig into it, I have an excellent point of reference when it comes to drawing the scene!

Not only that, but I can also view the scene from whatever angle I could ever want or need, including the character and their pose/position relative to the environment.

We can even quickly and easily expand this scene to include more characters!

Watch the full lesson above to get all the info on drawing hands from imagination

Drawing Hands from IMAGINATION

In this lesson I’ll show the process that has helped me to draw hands accurately from imagination. It’s also a great process if you’re drawing from reference. 

The Idea

The first step is to get a clear idea of the hand you’re gonna draw. Don’t jump in blindly and start drawing. Figure out the angle we’re looking at the hand from. Imagine this clearly in your mind before you make a mark. And you always have your own hand that you can use to figure it out.

Once the idea is clear, we’ll start constructing the hands using simple forms.

The Palm

The palm areas can be simplified to a boxy form with equal height and width. That’s a good place to start, but if you want to be a little more precise, it’s good to start thinking about the nuances. 

We’re looking at this box from the top. We can see the right side and the front plane of the knuckles. Before we add the fingers, let’s split the front plane into 4 parts. That way we know where each finger extrudes from. Don’t forget about the foreshortening!

If you can do that, you have a really good starting point and you’re on your way to drawing an awesome hand.

The Fingers

At this point you can start extruding the finger segments, but it helps me to start with some kind of gestural or wireframe guideline. I’m gonna give you 3 options that you can choose from. Everyone has their preferences and different poses might call for different approaches.

1. Mitten - If the fingers are grouped together, you can try to imagine a mitten shape for all of them. If one or more of the fingers is separate from the group, draw it separate. Group the ones that you can and decide if they’re bending.

2. Dots ‘n Lines - Another way is to throw down some lines and dots for the knuckles. This can help figure out the position and length of each segment with minimal lines that are easy to adjust.

3. Gesture - The third option is to draw the gesture of each finger. Don’t worry about separating each phalanx. Ignore the joints and just identify the motion of each finger. Do this very lightly.

Different poses will call for different approaches or combination of them. And, everyone has their preferences. Try them out and see what you like.

Now let’s add some structure to the fingers. Usually I like to use cylinders for each segment. Cylinder because they’re easier and quicker than boxes. And it’s pretty easy to turn a cylinder into a box later, if I want to indicate the rotation of that cylinder. An indication of the box at the joint is enough.

There’s 12 segments in the fingers, and that doesn’t even include the thumb. That’s a lot of cylinders and boxes to think about. It’s tempting to rush through them, but fight the feeling of urgency. Get them in the right spot, with the right proportions and perspective. Do your best to keep your lines light and clean throughout the construction process. Don’t scribble and create a mess. Think through the drawing.

The Thumb

In the hand bones lesson we learned about the triangular box for the base of the thumb. This triangular box can be stretched, squished, and rotated depending on the position of the thumb’s metacarpal. Look at your thumb and see all the different ways it can move. Sometimes I imagine the metacarpal bone to make sure it’s position is believable and the length relates correctly with the others.

The Wrist

On the surface, the wrist curves to fill the gap between the palm and forearm. So, a good place to start is the 2×4 form of the forearm bones. The wrist would be a transitional plane when there’s a bend. Look at Bridgman for inspiration when designing the wrist. Here’s a few different poses so you can see how the wrist behaves. Notice how he puts a little step down from the forearm to the hand. It’s a nice design that can make your drawing more interesting and dynamic.

Muscles

Learn about them in Part 1.

Shading and Details

You sure have seen this post. It has spread like wildfire over the past few days so I doubt there is any artist out there who hasn’t seen it. But even if you didn’t, you should read on because I’m about to tell you a handy little thing that can help you to protect your art from such assholes as the anon who submitted this bullcrap, as well as art thieves in general.

The magic word is Metadata.

Metadata is like an invisible signature that is embeded into a file. It can contain all kinds of information, like Title, date, keywords for online seach engines, and copyright information. And the best thing is, since this information is “hidden” in the code of your picture, it’s hard to remove it.

There is a nice basic tutorial on how to add Metadata, or “additional file information” to your images in photoshop. It’s really, really easy so check it out!

“Adding Your Contact And Copyright Info To Your Photos With Photoshop” on PhotoshopEssentials.com

I’m not sure if you can do the same with any other art program. If you know how to do this in other programs / can confirm that it works the same way there, please tell me so I can add the information to this post.

me: /opens metadata

it allows you to resize artwork without it becoming pixellated. this is a MASSIVE help if you, for example, make lineart too small or something. it works best with things that 1. have no textures 2. have smooth lines 3. have cel shading, but it still works really damn well for things that don’t fit that profile

here’s an example:

normal size

2x in paint

2x in waifu2x