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@friccafracc

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more of him. by the way.
Any advice for artists trying to work on anatomy on both traditional drawing art and digital art? like any techniques you used yourself to help with it or anyways to make it less frustrating and more fun?
well...hm. good question lol
of course, like every other artist in the world has said: in order to get good at it, you simply need to practice, look at references, etc HOWEVER! there IS a way to get good at drawing from references quickly and very easily. Whether or not you'll enjoy it is unfortunately dependent on your mindset.
first, you need to work from the ground up. if you want to be able to recognize patterns and be able to replicate them as you draw, GESTURE DRAWING is a must! The goal is to translate your subject onto your canvas in as few strokes as possible, as FAST as possible. Be sure to keep the sketch light on your canvas. What's most important is that you NEVER LOOK WHERE YOU'RE DRAWING AS YOU DRAW. This is so that you're able to more closely replicate what you're ACTUALLY seeing instead of what you THINK you're seeing! (please believe me, this actually makes a HUGE difference) Here's a video with poses and a timer to help you get started!
Now that you have your gesture down, it's time to build off of it! After you've completed your sketch, you can now take the time to replicate muscle and fat with a similar technique. Honestly, there's tons and tons of resources out there on how to draw different body types and limbs, but if you have a sketching base you're satisfied with, its more likely you'll find your reference much easier to replicate.
Sorry this wasnt super specific (it's been a while since I've taken any art classes), but truly and genuinely, the fastest way to learn ANY art medium is to master the basics which is kind of boring unfortunately😭. Still, I hope this at least helps you a little! Good luck!
i’ve upgraded from “left facing 3/4 view” to “Profile Views of the same guy forever”. anyways i love axi’s face shapes.
You thought this was a rabbit? They thought this was a rabbit. That's fucking funny bitch, this is fucking Winnie the fucking Pooh. Yeah. Yeah. Fuck 4th of July

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when the curse is lifted
Today is the day to post this
watched Obsession yesterday with my pals and I swear my face was just this

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photo study 🎣
It's a moral imperative that we write more sex scenes which are
Weird
Uncomfortable
Not good for anyone involved
art block has been beating my ass BUT cyberpunk went on sale and i figured out mods. axi is real axi is real axi is real axi is real axi is real axi is real axi is real axi is real axi is real
every fucking time I see this I miss the "7 month old" part, then when I see the image I fucking lose it. god fucking dammit
That video of Alex Hirsch reading S&P notes for Gravity Falls conveys a few things to me:
1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.
2) the people who run Disney would be the first to fall in line with a fascist regime.
3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.
4) conservatism, not the left, is and always has been the biggest voice of censorship in American culture.
J. Michael Straczynski, creator of Babylon 5, was before that a producer and writer for a number of cartoons in the late ‘80s/early ‘90s (The Real Ghostbusters and the original She-Ra, most notably). After a few years of dealing with the censors and their obsession with finding Satanism (or at least looking for Satanism to further political agendas) he wrote an article about the whole corrupt and bullshit system.
And published it in Penthouse, to force those same censors to buy a skin mag. The editor there asked, why Penthouse?
That one is from his autobiography, Becoming Superman. See also:
(As he goes on to say, he’s never worked in animation again–he’s effectively been blacklisted by the cartoon industry.)
Every time something like this comes up, I remember two stories about making media. The first is about movies, and comes from Quentin “Feet Man” Tarantino.
When he was making Pulp Fiction, he was worried that the MPAA would object to the high level of violence in the film, so he shot a bunch of extra-gory stuff that he didn’t actually want in the film, and added it in before submitting it to the MPAA. Predictibly, they asked him to cut most of it (without even commenting on some of the things that had him worried, like the bits of Marvin’s skull that lodge in Samuel L. Jackson’s hairpiece). The resultant cuts were actually more permissive than he’d expected, so he cut a little more and submitted it, and it got passed with an R.
The second story is about that artist on Morrowind whose name escapes me (I’m not a big ES fan tbh) who figured out that if he made two creature designs, one weird and what he wanted, and one even weirder, he could get Todd Howard to agree to just about anything by showing him the whopper first, then going back and “working” for another few hours on a second, “toned-down” version, and it worked every time.
The reason I bring these up is that the thing that drives censors isn’t some extant physical rubrick of what is and isn’t acceptable, it’s the idea that they can have absolute power over someone else’s creative work. It’s about the social dominance of the interaction.
There is nothing so innocent, so clean, that a censor will not find some fault with it. Because they must find something wrong with it to justify their existence, and because it makes them feel powerful.
This is true of all censorship.

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Black Menswear modelled by Black Men
Creative Director Rock Mitchell
funny how normal human rights don’t have to apply to you if your parents don’t want them to
I was going to say “if you’re a child” but remembered when I turned 18 and realised I was still stuck at home and nothing was going to change if my parents didn’t want it to