HMEien's Art Blog

Ibuki Satsuki Art Style Tutorial 

a tutorial on how to draw the Ibuki Satsuki style with these images

Translation is done by these two beautiful people hinabes & pizZiCcato

So my historical costuming resources list from 2011 was less than a page long- I’m not saying that I’ve learned a lot in the past three years, but this list is now sitting pretty at a solid nine pages.  Whew.  And people wonder why I want to redo this damn series.

This list is by no means an exhaustive one- it’s a list of (primarily western) historical fashion resources, both online and offline, that is limited to what I know, own, or use!  It’s a work in progress, and I’m definitely hoping to expand on it as my knowledge base grows.  First things first, how about a little:

ADVICE FOR RESEARCHING HISTORICAL FASHION

Read, and read about more than just costuming.  Allowing yourself to understand the cultural and historical context surrounding the clothing of a particular region/period can be invaluable in sussing out good costume design.  Looking at pictures is all well and good, but reading about societal pressures, about construction techniques, daily routines, local symbolism, whatever else will really help you understand the rhyme and reason behind costuming from any given context.

Expand your costume vocabulary.  When you’re delving into a new topic, costuming or otherwise, picking up new terminology is essential to proper understanding and furthering your research.  Write down or take note of terms as you come across them- google them, look up synonyms, and use those words as a jumping off point for more research.  What’s a wire rebato?  How does it differ from a supportasse?  Inquiring minds want to know.

Double-check your sources.  Especially on the internet, and double especially on tumblr.  I love it, but it’s ground zero for rapidly spreading misinformation.  Books are usually your safest bet, but also take into account their date of publication, who’s writing them- an author’s biases can severely mangle their original source material.

Don’t be afraid to ask for help.  Do everything you can to find out information on your own, but feel free to reach out to people with more specialized areas of knowledge for help!  Be considerate about it- the people you’re asking are busy as well- but a specific line of questioning that proves you’re passionate and that you respect their subject matter expertise can work wonders.

Okay, onto the links!

It’s impossible to overstate the importance of getting off the internet and looking into books!  God bless the internet, but books are (generally, this isn’t a rule) better-researched and better-sourced.  Bibliographies also mean each individual books can be a jumping off point for further research, which is always a fantastic thing.

Remember- owning books is awesome and you should absolutely assemble your own library of resources, but LIBRARIES.  Libraries.  You’ll be surprised to find what books are available to you at your local library.

GENERAL / SURVEYS

British Costume from Earliest Times to 1820 Fine book with lots of first hand sources, but be wary of the photography in the book- reproduction costumes and thus somewhat less reliable.  Though hilarious.

Corsets and Crinolines Norah Waugh’s invaluable survey of corsetry and corset patterns- used the world ‘round by modern corsetieres.

Costume in Detail: Women’s Dress 1730-1930 Elaborate line drawings/diagrams of extant period garments!  A fantastic survey.

Cut of Men’s Clothes PDF available online!  Patterns for men’s period garments.

Cut of Women’s Clothes Patterns for women’s period garments.

Greenwood Encyclopedia of Clothing Through World History This is a library find, unless you have a pretty three hundred bucks lying around- a great, general resource.

A History of Costume A lot of good text and info, to be taken with a grain of salt. Be wary of any reconstructions and or “supposed” patterns that aren’t directly based on extant garments or firsthand accounts.

Fashion (Taschen 25th Anniversary) A survey of the Kyoto Costume Institute’s fashion collection- broad but beautiful.  On every fashion student’s bookcase.

Fashion: The Definitive History of Costume and Style Great overview of fashion history from the Smithsonian and DK publishing.

The History of Costume: From the Ancient Mesopotamians Through the Twentieth Century Broad costume survey, second edition.

What People Wore: 1,800 Illustrations from Ancient Times to the Early Twentieth Century this is one of those “I am putting this here because I used it a ton when I was younger” but man, mixed bag.  Really cool survey to browse through, but also work that is a copy-of-a-copy-of-a-copy in most instances and thus not necessarily trustworthy as a resource.

What People Wore When: A Complete Illustrated History of Costume from Ancient Times to the Nineteenth Century for Every Level of Society A collection of Racinet and Hottentoth’s costume plates from the 19th century.  A beautiful survey but, since these are later illustrations, to be taken with a grain of salt.

Patterns fo Fashion books Detailed, hand-drawn diagrams of historical fashion, inside and out.  Pretty amazing stuff.

Patterns of Fashion: The Cut and Construction of Clothes for Men and Women, C.1560-1620

Patterns of Fashion 1: Englishwomen’s Dresses & Their Construction C. 1660-1860

Patterns of Fashion 2: Englishwomen’s Dresses & Their Construction C. 1860-1940

Patterns of Fashion 4: The Cut and Construction of Linen Shirts, Smocks, Neckwear, Headwear and Accessories for Men and Women C. 1540-1660

Fashion in Detail books Not what you want if you’re looking for photos of entire costumes- note the “in detail” bit up there.  Just a beautiful series, and great reference for all the little things you might miss otherwise.  The V&A has an amazing fashion collection, and it’s great to see them share it with the world.

Nineteenth Century Fashion in Detail

Seventeenth and Eighteenth-Century Fashion in Detail

Underwear: Fashion in Detail

World Dress: Fashion in Detail The one non-western entry in the series.

Fashioning Fashion: European Dress in Detail, 1700 - 1915 LACMA’s response to the V&A’s series mentioned above, also an invaluable resource for historical fashion detail.

I’m late to the party but I really wanted to draw Herem babes in Met Gala style. They’re all so extra, damn!

EDIT: I added Mercedes and Urizen ‘cause of course. Ira: Catholic queen Asmoday: Demon rockstar Hazahyr: Angel Belial: Fallen angel Mercedes: Spanish catholic + mantilla Urizen: Priest.

A quick coloring practice tip I made for Patreon

by Alexandria Huntington

1) DON’T use your search bar to find and open the Run app

2) DON’T type in services.msc

3) DON’T find Adobe Genuine Software Integrity Services and right-click to get a dropdown menu, and don’t select ‘properties’

4) if you happen to click properties, DON’T use the startup type dropdown to locate the option to disable the program. be sure you DON’T click apply to finalize that change. 

5) DO NOT do the same thing in order to also disable Adobe Genuine Software Monitor 

if you do all of these things, this WILL disable adobe’s ability to monitor the software, and you will be forced to continue using the same older software that you already paid for instead of having to sign up for a newer, shittier version and pay more for it. so if you have lots of cash to spare and are cool with putting it the pockets of racketeering capitalists, definitely don’t do any of these things. 

If a client says they can’t afford to pay you but you’ll get good exposure, one of two things is happening:

1. They are lying. They can afford to pay you, but they are choosing not to. They will pay the printer to print the books, they will pay the mail service to deliver them, and you’d better believe they’re going to pay themselves for sending you an email explaining that they can’t afford to pay you. They think you are a sucker, and if you take the job you’ll be telling them they are right.

2. They are not lying. They have zero budget, no audience and no real distribution system. They’ll still be paying the printer and mail service because people who work in those professions don’t work for free just because someone promises them a recommendation. But they aren’t paying themselves, they’re running on an incredibly small margin, and there’s a good chance they won’t exist as a corporate entity in a few years. Publishing your work with them will give you less exposure than putting it on tumblr or Instagram for free would. It will never lead to a paying job. 

If a client starts ranting about the “short-sightedness” of artists, or otherwise complains about artists in general in their opening offer to you, run. Run as fast as you would run if a blind date spent the whole of dinner ranting about how horrible your entire gender is. Yes, there are doubtlessly clients who’ve been screwed over by artists in the past, but the ones who complain about artists in general will not respect you, they will not treat you well. 

Working for free does not prove that you are passionate about something. It proves that you do not need to be paid for your work. How many doctors went into medicine because they are passionate about saving lives? Do you think any of them are asked to perform heart surgery for free?

No one will ever pay $50 for something if they can get something similar for $5. When you charge next to nothing for art that you’ve worked for hours on, art that required years of training to create, you are telling your client that it is worth next to nothing. They will remember that the next time they want to hire an artist.

People who are looking to exploit artists know that artists are hard on themselves. They know that most artists don’t think their work is good enough to charge top dollar. They know that artists have been told from the first day they started taking their art seriously as a career that they’ll never make any money off it, that it’s not a real job, that it has no value to society. They know how to push artists’ insecurities about their profession in order to convince them that that demanding fair compensation is unrealistic and uncooperative.

If you’re just desperate for a job in the arts, any job in the arts, give yourself a job. Start a webcomic, or give yourself illustration assignments that you post on social media regularly, create work for a gallery show even if you don’t have one yet, or make a book. Give yourself a job. If you’re going to work for free, you may as well be working for yourself, setting your own hours and following your own interests. Having original art with original characters and ideas in your portfolio, and making sure your art is visible online will get the attention of publishers who are actually looking to hire people for good jobs. Drawing a shitty comic for a defunct publisher based on someone else’s shitty ideas will not.

if youre only planning on posting your art online, them please save it as .png ;this is also better for transparencies as well

BUT

please, if youre planning of printing your art, NEVER use png. it makes the quality of the image pretty shitty. use jpeg or pdf instead. and always set your work at 300dpi to get a better printing quality - this means, the images are crisper and sharper and theres no slight blurriness. i had a talk with my friend who is currently taking design, and pdf is much better to use when youre working with a bigger publishing company because it still has the layers intact, but if youre only planning on printing your stuff at staples or at some small publishing store, the jpeg is the way to go.

This is all utter bullshit.

I’m sorry but if your qualification is working on the school yearbook, you have no qualifications. Do not pretend otherwise. As a former professional photo manipulator for advertising brochures, I can say that you’re not comparing apples to oranges here - if anything, you’re comparing fruit to farmyard machinery:

JPEG is a lossy format. It is suitable for web imagery because it sacrifices detail for reduced file sizes, but in doing so it introduces artifacts that weren’t in the original; if you load a JPEG for editing, then save it as a different JPEG, then you’re adding more artifacts formed from those first artifacts. Do this often enough and you end up with a horrid glitchy mess that looks like a puddle’s reflection after a stone’s been thrown in. You’ve seen those memes that have 3 or 4 different “found at” tags along the bottom, that look like fingerpainted copies of the original? That’s why.

PNG is a lossless format that comes in two primary flavours, PNG-8 and PNG-24, which use 8 and 24 bit colour respectively. 8-bit colour is what you have in GIFs, a limit of just 256 different colours in a predetermined palette, usually automatically chosen by your software when saving. These files will look the same as GIFs, potentially with large patches of solid colour instead of the usual gradual shading seen in 24-bit imagery. This is usually better for small banners or pixel art, as it can yield smaller filesizes than GIF format. (There is an animated version called MNG but it has very little web support, hence the continued use of GIFs.)

PNG-24 is great for larger images where detail is as important as colour depth, as well as printable RGB images and (if supported by the client) full colour images with gradient transparencies. It most certainly does not make “the quality of the image pretty shitty,” as it preserves every nuance. File sizes can be smaller than JPEG for small images, or significantly larger for large images.

PDF is a container file, whatever you put into it will be pretty much preserved as it was, so you gain nothing but lose nothing.

TIFF is what you need to be using for archival or print-quality imagery. It has support for multiple layers, multiple colour channels (RGB as well as CMYK, which is essential for accurate print rendering), and everything is preserved exactly as it was seen on-screen when being composed. There are compressed versions available, they use similar methods to PNG in order to maintain detail without sacrifice; next to whatever your graphics program uses natively, this is the most interchangeable format available for professional use.

DPI is important only when used in combination with image dimensions; in and of itself it serves no purpose. If you make a brilliantly detailed 640x480 image & set it to 300dpi, you’ll receive a brilliantly detailed 2 inch x 1.6 inch print. This is great if you want to make a postage stamp, but not if you’re creating an A4 flyer! Determine the image’s dimension then set the DPI accordingly; 72dpi isn’t hideous especially for text-heavy work (it’s ~3 pixels per millimeter), and 150dpi can be suitable for many images. Unless you’re interested in photo realism, 300dpi is usually overkill - for our hypothetical A4 flyer, you’d need a file of 2490x3510 pixels for edge to edge printing, with a correspondingly high memory requirement and filesize even if using a compressed format.

Keeping the layers intact is utterly unimportant for print work unless you want to use a separated colour print method that requires multiple passes to lay down each ink. If you send a file with all the layers, masks, etc. off for printing you’re liable to get it sent back unactioned, as they won’t want to take responsibility for choosing the wrong elements for printing. Save your work with everything intact, then save a flattened copy especially for printing purposes - this is one of the reasons Save Copy As… is a common option in graphics manipulation software.

As a designer who’s worked a few years for a newspaper, I cannot begin to tell you how much OP’s post (edit: response, technically) made me cringe. I would have killed to get a photo as a TIFF for once instead of having to tear apart PDFs only to find a 50x100px 72dpi shitty JPEG inside for the 5 millionth time…

I didn’t even learn this stuff until I started working at a publisher that printed color products. (I barely learned greyscale and spot color at my previous and small newspaper job and even then I didn’t learn this in college because I didn’t have any sort of print class.)

A tool that I’ve found is really handy is a called the Cash Clock. It’s a simple program that measures both the time that you’re working on a piece as well as how much money you should be earning. You can adjust the hourly wage to whatever you feel is right. Simply start the clock whenever you begin working on a project right up until you’re finished. It can give you a clear indication of what you should charge for commissions.

No artist should make below minimum wage for their artwork.

The Cash Clock is found as a download here. 

My art tumblr

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!