this took like five minutes to do and thats how easy it should be. hope this helps in anyway?
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this took like five minutes to do and thats how easy it should be. hope this helps in anyway?

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Color Tutorial Part 2: Hue
Part 1 : Value - link Part 3: Color Picking and Pallets - coming Feb. 15th Part 4: Digital Coloring Method - coming Feb. 22nd
Other Tutorials - link
Twitter Ā | Ā DeviantArt
Part 1 of āHow I Draw Background Perspectivesā
This took me a while to finish. I did this in paint with a computer mouse. The link for part 2 is down below.
Part 2
My Other Tutorials
How I draw poses from low angles
How to draw high angled poses
DANGERKHOA 2014
i just found myself using this random trick that one of my art professors taught me and i thought other people might like it!
other tips: -at rest, the elbow hits the bottom of the ribcage, and the wrist hits the bottom of the crotch -the distance from your inner elbow to your wrist is about the same length as your foot -the length of your hand (from wrist to the tip of your middle finger) is about the same length as the distance between the bottom of your chin and your hairline
so, if you have a feeling that proportions are wrong on something, those work as quick gauges. like, if a characterās forearm looks too long, try to visualize their foot being the same size and see if that works. if the hands look too big, look at their size in relation to the face.
hope this helps someone!
YES GOOD!
Tips on Drawing Hands Tutorial
Hope this is helpful!
DeviantArt

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Thereās three main groups: the flexors and extensors each take one half of the forearm, and the ridge muscles sit on top like a little tiara. Each group has itās own unique form. Learning their anatomy will help you design awesomely dynamic arms.
Letās try to make forearms manageable to draw. This is a body part most artists donāt quite understand. It can be real intimidating if you donāt know the muscles.
The arm has a simple chain design and the forms interlock down the arm.
To avoid the snowman effect, use straight, angular lines and look for asymmetries. Compare the apex of both sides of the forearm to understand the curvature better. Notice that the flexors reach lower on the wrist than the extensors and ridge muscles.
Look for this kind of thing when youāre drawing the gesture of the muscle groups. A wave rhythm where the curve on one side leads into the next curve on the other side.
Iāll explain more in-depth in the videoĀ - www.proko.com/179
Studying Trees by Fabian Rensch
Little tutorial on how to paint Ghibli style grass
I did a Hand Tutorial!!! Let me know if this helps!!!
Click to enlarge)
Breakdown / Accent / Arc
To thank for the support for our film so far, we are posting some notes on animating originally made for our animation assistants. Breakdown is a very crucial technique of animating. It is a guideline of how every action should be acted out. It involves a thinking process ofĀ āhmm, I want my character to move in this way particularly, because of the context/situation/emotion/thought⦠etcāĀ
Last but not least, breakdowns are the playground for animators. If you find these notes useful, also check out our film We Have Plenty. Itās a 2D animated film created by the students of SCAD and RISD. Please support us onĀ KickstarterĀ and help usspread the word! We will be back for more notes on animation!Ā
Tutorials in the name of our film. Please support us on Kickstarter! I really really believe in our film and our team. Super excited to see it finished!Ā

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Lighting your Painting: 4 Ways to Solve the Lighting Problem
Fundamentals of Painting
āMost of the time when we are painting, we get so overwhelmed with all the info, which is why practicing the lighting fundamentals beforehand will be beneficial for future work. This will be a pretty lengthy article, but it is pretty comprehensive in terms of necessary fundamentals.Ā
Fundamental #1: Importance of the Plane
When painting and using light, you need to switch from the form build-up approach to thinking about the right plane structure to make the right lighting decisions.
If you can simplify the elements into the proper planes you will understand the structure better and you will be able to assign the right values (when lighting).
Fundamental #2: Light Properties
There are Ā some consideration to make when thinking about lighting. I will try my best to explain some of properties and explain how the lights affect the values and colors of a scene.
Light-Shadow Ratio:Ā The light-shadow ratio determines how much of a contrast there is between light and shadow. A higher contrast is created due to sunlight, and a lower contrast due to overcast weather for example. This is caused by different intensities in light.
Value Keys:Ā Value keying is mainly a design technique used to adjust the value scale while maintaining the light-shadow ratio. Depending on the light situation we have a specific value key in the scene.
Value Compression: Value compression is needed, because we as painters can“t get the full range of light into our paintings. We need to decide, if we want to expose for the light side or shadow side and sacrifice the values on the other side
Light Color: The first thing to understand about light is that it constantly changes it“s wavelengths, therefore changing it“s color. To simplify the process just identify the light as a warm or cold light.
Shading Components
Fundamental #3: Light Set-up
Now that we know how values and colors and affected by light, let“s look at how to set up lighting situations. These lighting situations are always used, and can be divided into natural and artificial light:
Light Types:Ā There are only 3 basic light types you need to know to light your scene. Key Light, Fill Light and Rim Light.
Light Sources:Ā There are only so many light sources that exist. Knowing about them will help you identifying them in any given reference and use them creatively.
Global Illumination:Ā The characteristics of global illumination is the use of bounced/reflected light. It is used to calculate where reflected light is coming from, so we know which planes receive what light in any given scene. You need to treat it as a diffuse light source. It is most effective when there are a lot of shadows.
Fundamental #4: Material Behaviour
Many Material renders disregard the properties of Light. The reason we have learned about light in the first place is to convey materials in different lighting conditions and make them congruent to the scene. Let“s look at the materials and how light interacts with different surfaces.
Learn how to think about shapes, value, color and edges and understand it to apply the knowledge of physics to adjust your values and colors. A proper artist knows both the mechanics of painting and of physics.ā
For full explanations complete with image examples, go to the article.
Tuesday Tips ā Two Lines The face, or eyes, is where an audience will look, or track, most. Thatās why I concentrate on the position and consistency of the expression (face) by putting down, or at least thinking of those lines or position first. Give it a try. -Norm #grizandnorm #tuesdaytips #100tuesdaytips #twolines
My first shot at creating a sort of tutorial/guide, telling how I do things. On this initial chapter weāre going over the handy matter of Hands. Not meaning to be an encyclopedic explanation, only showing my own methods and self-taught clues. Hoping somebody finds it useful! :3 Iāll do more if this one is received well. So let me know~
My thanks also to the supporters in my Patreon campaign, who helped me decide which themes to focus on for a start. And are actually allowing this to happen. :D Cheers!
Never had this much knowledge of hand drawing before.
Entangled by Kate MacDowell
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