Art Tutorials

Anatomy:

Arms

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Heads -Ears -Expressions -Eyes -Facial -Hair -Mouths and Lips -Noses -Tears

Humans

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Animals:

Anatomy

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Draw Your X

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Programs:

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World Building:

Buildings

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Video

Found some hands tutorial by me

oh dang feet are one of my weaker points so this will be brief. 

first i start out with the main shape of the foot (simplify it into a wedge or triangle just to maintain proportions) note: toes are weird

and then start filling in the finer details. At this point, its up to the drawing gods to decide your fate idk just a;sldkfjAKDLFJS

IT EVEN HIGHLIGHTS THE ULNA BONE  

step one build that shit in minecraft

step two take a fuckin screenshot n then trace that shit

step three what the fuck is up!

1. Ah Fai was a chief animator for McDull’s animated features. He’s super cool. Ultimate senpai. 

2. Previous post on breakdowns right here 

Some thoughts on acceleration and force

I presented this in the order of how I slowly understood the trick of delivering force - first an abstract concept of impact taught by Ah Fai, then a more complicated discovery on the acceleration pattern, last back to a more abstract concept of breakdowns. 

Like I’ve previously stressed, 2D animation is everything but one single approach. There’s no one rule that rules them all, but interchangeable ideas with math, or physics, or music, etc. There’s no “perfect” animation either, but what is perceived as organic and dynamic. E.g., using the Fibonacci numbers to animate didn’t bring me a perfect animation! On the other hand, a tiny change in the pattern could already make the feeling of force so much more powerful. 

So I feel like a lot of confusion with drawing in perspective is because people are not taught the absolute basics properly? So let’s do that.

Let’s say we have a cube.

Now, a cube we know is made out of 6 squares or rectangles, and every edge is at a 90 degree angle.

so every opposite edge of a cube is exactly parallel, right?

but let’s say we draw a cube using only parallel lines:

this looks a little weird, you know? Like if i try think of this as an object in 3d space and i look at it for too long, the faces start to look really warped - with like the back looking bigger than the front as if its been made out of weird wonky trapeziums

so what’s going on here? if all those edges are exactly parallel, why does it look weird?

lets take a look at this photo of a railway track

Now we know that the rails on a track are always going to be parallel, they have to be the same distance apart so the train can stay on the track yeah?

But we can very clearly see that these tracks are converging to a single point in the photo.

So what does this tell us, exactly? That our view of the world is naturally warped, and that lines that are physically parallel when drawn in perspective will converge to a single point.

Now, I could call this image “one point perspective” - but that’s not really true,

if these lines are also parallel, then they must also converge to a single point in perspective, right? so lets add another point

clip studio paint automatically adjusts the horizon line to fit the new points you add to your perspective…. notice how the horizon line actually fits the photo better now?

our new point is a very very long way away, so we don’t notice a lot of difference in the angle between lines, but the point that i’m trying to make here is:

Drawing with perspective guides is not about choosing one, two, three point perspective etc. those are just quick ways to set up a certain viewing angle

What you are doing when you use these guides is making your parallel lines converge to a point.

So, if you want to draw a big ol’ cube that’s aligned to be parallel with these railroad tracks, then you can do that with the same point as the tracks - because it’s parallel. It’s on the same axis!

but what if you want to draw a cube that’s rotated, and isn’t parallel to the tracks?

well that’s not too difficult to do if you know that every point represents one set of parallel lines.

If these lines aren’t parallel to the ones you already have, then clearly you just need new points.

We’re not planning to tilt this cube up into the air, or rotate it onto its side, so we’re going to leave the vertical axis alone, and just move our horizontal points to a different place on the horizon line

But speaking of the vertical axis - the only points that will be on your horizon line are the ones that are flat on the ground. But you can still have points that are not on the horizon line!

This is important to remember because if you’re trying to draw something like a slope or stairs, something that has an incline, it’s not going to be level with your horizon.

Let’s draw some stairs as an example.

This is actually pretty simple - first draw where your slope starts and ends by drawing a big L shape.

this will give you some parallel corners, which you can then connect to make a new point for your slope

And with this you can then find the centre and divide that up into equal parts to make your stairs (http://lesbianlinkle.tumblr.com/post/176704472820)

So lets go back to our original cube, with the knowledge that our parallel lines should all converge to a point and draw it again

well, doesn’t that look better!

but also, now you know how to make a cube lean against its buddy like this

because we just make new points for the new parallel lines

Anyway I hope that clears some things up, and makes perspective easier to understand!

So! If you don’t understand this post:

1. First the main takeaway here is: Vanishing points represent parallel lines.

that’s it. If that’s all you remember, you have 99% of the post.

2. I recommend bookmarking this post so you can revisit it and reread it a few times, with any advanced concept relating to art just reading about it isn’t going to get it to sink in. You’ll need to experiment and reread it to fully understand it!

3. Speaking of, here is an exercise you can do that I think might help clarify this post.

Take a look at some photos of architecture, and look for the parallel lines. Actually draw them on top of the photos!

I recommend especially using a program like CSP that lets you set up perspective rulers, so you can see the vanishing points

or you can just make the canvas really big

Anyway! Here’s an image to get you started:

or go out and take some photos of your own and/or have a look on google! Do this a few times with a few different photos, then try drawing some architecture.

1. Definition

Texturing is a technique that involves adding local shading and details on surfaces to better represent the material of an object. This technique is of course closely linked to shading in general. This is usually applied after defining a global shading.

From left to right :

Lineart

Global shading

Completed sprite

One of the big differences between global and local shading is homogeneity. The very principle of global shading is to give a sufficiently contrasting effect between the shaded and lit areas to bring out volume and depth. Conversely, a texture must be as homogeneous as possible. It must be able to be applied on large, uniform surfaces, without making it look bad.

2. Applying a texture

A texture being homogeneous in terms of its luminosity/contrast, if it is applied to an object without taking into account the global shading, we will lose any effect of volume and depth.

A texture applied to a sphere without shading. Only the deformation of the texture can give us a clue on the shape of the object, but it is still difficult to discern. Homogeneous contrast When applying a texture to an object, shadows must also be taken into account. It is therefore important to maintain a uniform contrast between colours. A dark line separating a light zone from a dark zone should not keep the same colour between these two zones.

The color of the line will be lighter on the lighter side and darker on the darker side to preserve its contrast with the background. In the same way it is possible to apply a texture or pattern on a shaded object, by proceeding to a simple color shifting in our palette.

Combination of a texture (left) and an object that is not textured but shaded (middle).

3. Local shading

Since shading is used to highlight the bumps, there are generally two possible cases:

A groove

A bump

Each of these cases can be more or less accentuated by playing on the colors, the intensity of shadows and lights.

On the upper line, troughs ranging from the weakest to the strongest bumps. On the second line, these are bumps that stand out. The mastery of these light bumps is very important, it is the basis of the textures, and will make it possible to manage all the simple cases, such as wood or matte plastic. Example of application on a simple object:

4. Reflections

The application of a reflection is done in a simple way, by applying diagonal strips of light of varying thicknesses, and following a few rules.

A trough or bump will create an offset at the reflection level (proportional to the height change). As for the shadows, there is no absolute, depending on the palette or the material represented, it is possible to lighten or not the area at the reflection level. It is also important not to have parallel light bands on faces that are not oriented in the same direction, as on this cube:

Concrete example of the application of a gold texture on our drawers:

Or, added reflections on our previous crate:

5. Dithering and granularity

Dithering consists in creating a new false color from a checkerboard or other regular pattern of two colors close enough to give an illusion of mixing. The closer the colours are, the stronger the illusion will be. The more the colours are contrasted, the stronger the granularity effect will be.

Dithering is basically used to obtain fake intermediate shades on limited palettes, but it is also very useful for making complex and rough textures.

Example of complex dithering separating 3 colors over a wide area.

The nature of the pattern totally changes the roughness aspect. Example of the application of a sandy rock on our drawers:

Or add grain to our crate:

6. The art of destruction

The more complex a texture is, the more it will combine fundamental techniques such as bumpiness, reflections or granularity. However, some materials need to go further, by cutting, slash or breaking the base support.

Cuts It works much like bump, but on a much finer surface. We are subject to the same rules, of which here is a summary image:

From the finest to the most pronounced, on the first line of the cuts, and on the second of the bumps. A concrete example on our crate:

Exercises

Since nothing beats practice to learn, here is a series of examples from the simplest to the most complicated.

For each exercise resolved, post your results.

Mastering tools

Add a strong bump on the text of this image, except the ‘x’ which must be a groove (the center must be dug more strongly than the rest of the ‘x’):

Palette:

Add reflections on the image obtained between the two red lines shown below:

Now cut and break the letter ‘e’ as well as possible.

Add grain to the letter ‘l’.

Finalize a sprite

Texturize/colorize this sprite:

Palette:

Add reflections on the inside of the doors to give the impression that there are windows.

Add damage (cuts etc) on the right side of the wardrobe.

Make a variant of this cabinet by redoing it in gold using the palette of the gold drawers example in the tutorial. Palette:

Do the same with the sandy rock. Palette:

Sample solutions

Here are some solutions by a talented friend :

Gif process

Hello friends, this is the long awaited tutorial on Line-Quality, Art-Style, and Same-Face-Syndrome.

Line-Quality is improved by building Muscle-Memory.

You build muscle memory through Drawing-Exercises.

Art-Style is developed over time through Observation and Routine.

Routines such as… Drawing-Exercises. 

And now for… the Ultimate Drawing-Exercise-Routine!

It’s called Snake-In-A-Basket!!

Draw any kind of snake inside of any kind of basket. You have 5 to 20 minutes to complete it before each/every Big-Serious-Illustration to tackle. No more, no less time!

Draw it… NOW!

(my example that I drew in GIMP)

Art-Style is not necessarily what you think it is. A fairly common style issue discussed in artist circles is the inability to draw the same character twice while retaining their likeness or the lack of uniqueness which makes our art (recognizable) distinguishable from another’s “oh! YOU drew this!”.

Here are the fastest pathways to attaining the elusive Art-Style:

Repetition!!!!!

Recurrence-of-Thematic-Elements (everyone is sad, robots, someone is always shirtless, etc)

Same Color-Palette used for everything you draw

Same-Tools (line width, brush set, same paper, canvas size)

or Same-Program

(examples of palettes!! you can’t go wrong with having a rainbow)

Some Amount of Explanation:

If you draw on the same size or same scale (A6, A5, A4, A3 | B6, B5 | Letter) or in the same orientation (Landscape or Portrait), it helps you learn Composition intuitively by training you to make use of the space you have. Also it’s easier to print out and frame if you draw on common photo print sizes 4x6, 8x10, etc.

Even if you make a lot of use of Blend/Blur and you’re more of a Painter than a Cel-Shader– deciding to use a Set Personal-Default-Color-Palette instead of randomly choosing them on the Wheel/Triangle-Thing will still give you enough stable consistency.

Onto the next thing!

Same-Face-Syndrome is normally caused by one of two things. If it’s not one then it’s the other: Same Shapes or Same Details.

To make noticebly different characters you have to Exaggerate.

Circle, Square, Triangle, Rectangle? Short, Wide, Tall, Thin?

Before you try your hand at drawing any Face or Body Type, draw another Snake-In-A-Basket first. 

You think I’m joking?

No. I’m not.

So to wrap up, you need to Warm Up to draw, you need to make a color palette and stick to it –or just use the same Crayola pencils, or the same kind of Bic pen, same kind of sharpie, .7 or .5, and have themes like “plaid flannels for everybody” or “hoodies and jeans”. Find those things you can execute consistently, like hatching or stippling, and if you like it, stick with it! 

Hope this helps!

This is the alternative looks a bit more abstract. The Snake-In-A-Basket makes use of different lines going in different directions but in one visually comprehensive Object. Its purpose is to build confidence in making long, medium, short lines.

A B-52 cockpit? Yes.

Thank you! There’s one thing about drawing portraits that I don’t think I’ve ever touched on, and it’s the technique of constraining features.  Basically, it becomes easier and more intuitive to rotate the face in 3D space once your mind grasps exactly where the features are located and, furthermore, where they can’t be located.  

I use a weird double trapezoid shape that I’ve depicted below in red to keep track of facial feature placement every single time I draw a face.  It follows the top of the eyebrows, touches the corner of the eye, traces down to the corner of the lips, and finally ends at the bottom of the lips.  

The shape of the constraint will change depending on the person’s features, and it works for every angle of the head.  For me it really internalized where each part of the face was, as well as where it started and ended. It kinda helps moderate your drawings; i.e., you’ll stop drawing features that are wildly misplaced or off-sized.  I don’t literally draw this shape out every time I draw a face, but I see it in my mind’s eye 100% of the time.

If you’re still learning proportions, a good exercise is to grab pictures of people and trace this shape over them (either digitally or with a marker or something) to get an idea of what realistic constraints looks like.  Then go back to studying faces, and constantly check your drawing by tracing along the eyebrows and down to the bottom of the lips to make sure that things aren’t off (e.g., the constraint isn’t terribly asymmetric).  It takes a while to get used to, but it might help you get a good feel for portraiture.  

There’s one other unrelated thing I like to do with faces, and if you’ve seen a lot of my pics you’ve already picked up on it.  If you kinda add some shading to the area on the cheek just below the eye and down to the nose, I think it adds a decent amount of depth to a face.  Don’t go overboard of course but there’s another little tip that could be of use.

senshi stock

croquis cafe

line-of-action.com

quickposes.com

posemaniacs

clip studio paint models

pexels.com

sketchdaily

eggazyoutatsu atarichan drawer

designdoll

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Yesstyle.com

Ok. I’m tired of the typical vampire, werewolf and fairy.I’m also tired of the occidental-centrism in mythology. Hence, this list. 

I tried to included as many cultural variants as I could find and think of. (Unfortunately, I was restricted by language. Some Russian creatures looked very interesting but I don’t speak Russian…) Please, add creatures from your culture when reblogguing (if not already present). It took me a while to gather all those sites but I know it could be more expansive. I intend on periodically editing this list. 

Of note: I did not include specific legendary creatures (Merlin, Pegasus, ect), gods/goddesses/deities and heroes.

Dragons

The Chinese Dragon

The Japanese Dragon

The Korean Dragon

The Vietnamese Dragon

The Greek Dragon

The Indian Dragon

The Polish Dragon

The Austrian Dragon

The British Dragon

The Ancient Dragon (Egypt, Babylon and Sumer)

The Spanish Basque Dragon

Of the Cockatrice (creature with the body of a dragon)

Alphabetical List of Dragons Across Myths (Great way to start)

Little creatures (without wings)

The Legend of the Leprechauns, The Leprechaun

Chanaque /Alux (the equivalent of leprechauns in Aztec/Mayan folklore)

Elves

Elves in Mythology and Fantasy

Elves in Germanic Mythology

Kabeiroi or Cabeiri (Dwarf-like minor gods in Greek mythology)

Norse Dwarves

The Myth of Loki and the Dwarves

Ten Types of Goblins

Goblins

Tengu: Japanese Goblins

Gnomes 

More on Gnomes

Pooka: an Irish phantom

Creatures with wings (except dragons)

Fairies

All sorts of Cultural Fairies

Fairies in Old French Mythology 

A Fairy List

Bendith Y Mamau (Welsh fairies)

Welsh Fairies

Peri (Persian fairies)

Yü Nü (Chinese fairies)

The Celtic Pixie

Angels in Judaism

Angels in Christianity

Hierarchy of Angels

Angels in Islam

Irish Sylph

Garuda (Bird-like creature in Hindu and Buddhist myths)

Bean Nighe (a Scottish fairy; the equivalent of a banshee in Celtic mythology)

Harpies

Spirited Creatures

Druids

Jinn (Genies in Arabic folklore)

Types of Djinns

Aisha Qandisha and Djinn in Moroccan Folklore

Oni (demons in Japanese folklore)

Nymphs

Spirits in Asturian Mythology

Valkyries

Lesovik

Boggarts: The British Poltergeist

Phantom black dogs (the Grim)

Demons in Babylonian and Assyrian Mythology (list)

Demons in the Americas (list)

European Demons (list)

Middle-East and Asia Demons (list)

Judeo-Christian Demons (list)

Nephilim, more on Nephilim

Mahaha (a demon in Inuit mythology)

Flying Head (a demon in Iroquois mythology)

Ghosts

Toyol (a dead baby ghost in Malay folklore)

Malay Ghosts

Yuki-onna (a ghost in Japanese folklore)

The Pontianak (a ghost in Malay mythology)

Funayurei (a ghost in Japanese folklore)

Zagaz (ghosts in Moroccan folklore)

Japanese Ghosts

Mexican Ghosts

Horse-like mythical creatures

Chinese Unicorns

Unicorns

The Kelpie (Could have also fitted in the sea creatures category)

The Centaur

The Female Centaur

Hippocamps (sea horses in Greek mythology)

Horse-like creatures (a list)

Karkadann, more on the Karkadann (a persian unicorn)

Ceffyl Dwfr (fairy-like water horse creatures in Cymric mythology)

Undead creatures

The Melanesian Vampire 

The Ewe Myth : Vampires

The Germanic Alp

The Indonesian Vampire

Asanbosam and Sasabonsam (Vampires from West Africa)

The Aswang: The Filipino Vampire

Folklore Vampires Versus Literary Vampires

Callicantzaros: The Greek Vampire

Vampires in Malaysia

Loogaroo/Socouyant: The Haitian Vampire

Incubi and Sucubi Across Cultures

Varacolaci: The Romanian Vampire

Brahmaparusha: The Indian Vampire

Genesis of the Word “Vampire”

The Ghoul in Middle East Mythology

Slavic Vampires

Vampires A-Z

The Medical Truth Behind the Vampire Myths

Zombies in Haitian Culture

Shape-shifters and half-human creatures (except mermaids) 

Satyrs (half-man, half-goat)

Sirens in Greek Mythology (half-woman and half-bird creatures)

The Original Werewolf in Greek Mythology

Werewolves Across Cultures

Werewolf Syndrome: A Medical Explanation to the Myth

Nagas Across Cultures

The Kumiho (half fox and half woman creatures)

The Sphinx

Criosphinx

Scorpion Men (warriors from Babylonian mythology)

Pooka: an Irish changelings

Domovoi (a shape-shifter in Russian folklore)

Aatxe (Basque mythology; red bull that can shift in a human)

Yech (Native American folklore)

Ijiraat (shapeshifters in Inuit mythology)

Sea creatures

Selkies (Norse mermaids)

Mermaids in many cultures

More about mermaids

Mermen

The Kraken (a sea monster)

Nuckelavee (a Scottish elf who mainly lives in the sea)

Lamiak (sea nymphs in Basque mythology)

Bunyip (sea monster in Aboriginal mythology)

Apkallu/abgal (Sumerian mermen)

An assemblage of myths and legends on water and water creatures

Slavic Water Creatures

The Encantado (water spirits in Ancient Amazon River mythology)

Zin (water spirit in Nigerian folklore)

Qallupilluk (sea creatures in Inuit mythology)

Monsters That Don’t Fit in Any Other Category

Aigamuxa, more details on Aigamuxa

Amphisabaena

Abere

Bonnacon

Myrmidons (ant warriors)

Troll, More on Trolls

Golems 

Golems in Judaism

Giants: The Mystery and the Myth (50 min long documentary)

Inupasugjuk (giants in Inuit mythology)

Fomorians (an Irish divine race of giants)

The Minotaur

The Manticore, The Manticore and The Leucrouta

The Ogre

The Orthus (two-headed serpent-tailed dog)

The Windigo

The Windigo Psychosis

Rakshasa (humanoids in Hindu and Buddhist mythology)

Yakshas (warriors in Hindu mythology)

Taqriaqsuit (“Shadow people” in Inuit mythology)

References on Folklore and Mythology Across the Globe

Creatures of Irish Folklore 

Folklore and Fairytales

An Overview of Persian Folklore

Filipino Folklore

Myths, Creatures and Folklore

Alaska Folklore

Spanish (Spain) Mythology

Mythical Archive

Mythology Dictionary

List of Medieval and Ancient Monsters

Native American Animals of Myth and Legends

Native American Myths

Bestiary of Ancient Greek Mythology

Mythology, Legend, Folklore and Ghosts

Angels and Demons

List of Sea Creatures

Yoruba Mythology

Ghosts Around the World, Ghosts From A to Z

Strange (Fantastic) Animals of Ancient Egypt

Egyptian Mythology

Creatures from West Africa

On the Legendary Creatures of Africa

Myths, Creatures and Folklore

References on writing a myth or mythical creatures

Writing a MYTHology in your novel?

How to Write a Myth

10 Steps to Creating Realistic Fantasy Creatures

Creating Fantasy Creatures or Alien Species

Legendary Creature Generator

Book Recommendations With Underrated Mythical Creatures

https://en.wikipedia.org/wiki/Monaciello