do it
trying on a metaphor
i don't do bad sauce passes
we're not kids anymore.
dirt enthusiast

Discoholic 🪩
Sweet Seals For You, Always
Claire Keane
DEAR READER

Origami Around



❣ Chile in a Photography ❣

Kaledo Art
tumblr dot com
I'd rather be in outer space 🛸

JVL

Andulka
cherry valley forever
Xuebing Du

seen from Spain

seen from United States

seen from Malaysia
seen from T1
seen from Brazil
seen from United States

seen from United States

seen from United States
seen from United States
seen from Italy

seen from United States

seen from Spain

seen from Germany
seen from Sweden

seen from Germany
seen from Singapore
seen from Malaysia
seen from Italy

seen from United States

seen from Germany
@holyrnari
do it

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
“But if you forget to reblog Madame Zeroni, you and your family will be cursed for always and eternity.”
not even risking that shit
scrolled past this, re-evaluated my life, then SCROOOLLLED back up and hit the damn reblog button.
Last comment same thing. Sorry to the next person who sees this. I just can’t risk it. I have things I need to do before my life becomes hell. Lol
man i fucking hate yall who tf put this up knowing damn well we all gonna reblog it im heated im really sick af bout this
I don’t play that shit lol sorry
WHyyyy
Sorry everyone
If only if only the woodpecker sighs the bark on the tree was as soft as the sky why the wolf waits below hungry and lonely he cries to the moon if only if only
Shiddd
this post followed me to Facebook and im sooo annoyed!
It’s been a MINUTE since I’ve seen Madame Zeroni, fr fr
I HATE TUMBLR FKKKK SAKES
LMAOOOO
Not tryna fuck up any of my planetary Returns~
I reblogged this yesterday but idc, I ain’t playing games with Madame Zeroni or Mama Kitt
Madame Zeroni ain’t for play play
Fuck it, hope she bless me
But what if a nigga don’t reblog this and they great great great grand kid finds a treasure chest?🤔
What year did this start? I’m always feels my like I have to reboot this
aw come ON
i hate this
I will always reblog when I see this on my dash. Sorry not sorry.
I watched the movie, and I’m not having that shit happen to me…. just saying
ALWAYS reblog madame zeroni
I don’t know what this is but same
this is the most relatable thing I’ve seen in 2016 to date
“cindy no, FUCK”
@asecretinside @princesshollis @tydyedshoelaces
“what are you dOING YOU’RE NOT IN HIGH SCHOOL”
ヽ(・◡・)ノ

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
in progress stickers ???
mini series doodles
doodles from twitter !!!!!!!
when its jk day, u game all day
My first shot at creating a sort of tutorial/guide, telling how I do things. On this initial chapter we’re 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 I’ll 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!

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Hey SAI users
Get your acrylic brush and give it these settings
Just
Just trust me
At first I was like “meh” but then I blended it… damnd. I normally do cel-shading but this is pretty sweet.
oh.my.god. I like this
Reblogging for refs later
omg i like this
decent night girl
sorry for not posting bc out of flow.
twitter doodles
waitwaitwait how does this perspective drawing stuff work
Okay, fair warning: I just picked up this thing like a few hours ago, my hands are rattling, my muses are excited and I’m so glad I went to Krenz aka cushart’s little seminar where he spoke extensively (in a language I haven’t practiced in a long time. aka not english) about the importance of “grounding” a character in order to make them realistic and believable.
The seminar was great because I actually… didn’t understand any of the perspective tutorial that I’ve read off the internet before this? The seminar was basically like a missing link for me, so I hope that I can share that in this long post.
So be prepared for long post!
Based on the seminar, he said the biggest issue with character posture and design he has seen many people do is that it’s based on assumptions and conjectures. Most of us absorb posture, dynamism and foreshortening by looking at other people’s works and imitating/recreating them (myself also being a big offender in this). Basically, he’s saying that there should be a structured approach for you to get into posing a character in your art /while/ allowing you to blend the character into a background seamlessly. He used a chunk of Mandarin jargon that I’m unfortunately unfamiliar with, nor am I familiar with the phrases in english, so take my phrasing with a word of salt:
1) Find/make/use a 16-square box.
Boring, I know.
2) Stretch it to your liking to determine the most important plane your character will be interacting with.
I used this plane because it’s an extreme example of how the grid can be used. Here’s an example of a sketch I did earlier with the 16-square grid being utilised as a normal 45 degree floor plan:
Anyway, back to my blank example, the angle of the 16-square will be mainly determined by your camera angle! The one I did is for a wall. The grid is mainly there to help you project the shapes of the object you want to draw! To help illustrate things, here’s an example of a L-shaped sofa or whatever leaning against the “wall” of perspective grid:
The lecturer basically said that it’s the easiest to draw the character/pose/object out in a side-view first, so that you can identify the position of each of the prominent points when you translate it into the 3D/grid plane. His explanation was borderline mathlike and was going into the area of geometry, which I’m not very good at. But basically, it’s about finding out how much “space” each part of your drawn object can take up, much like drawing geometrical shapes in maths class!
3) Draw a side-view of the pose you want.
Top left you can see I scribbled out the side-view of a horrible excuse of a pose. The most important things you have to find out is the angles and planes of note from the pose. Mr. Krenz mentioned equating the notable planes as an unfolded surfaces of a cardboard box; you can tilt at certain points, but it has identifiable angles, which is important for you to determine the angles of your torso, legs, etc and helps solidify your perspective angles when you draw em.
For the pose I drew, the points of note are: the head is leaned towards the “wall”, and the hand goes straight down; but notice how the back is curved and the butt is not close to the wall. This is important.
You’ll also notice that I drew a horrible excuse of a box projected out of the four squares in the 16-square grid. This is the important part! There’s actually some maths shenanigans as to the proportion of the box and how it relates to your anatomy, but I think the safest way to go is to assume a box projected out of 4 squares is equivalent to a torso. so that box = the size of one torso. that means everything from above the hip in the pose should fit into the box.
Remember how I harped on the position of the butt and hands and the angles? This one is for the next step:
4) Draw in basic spheres and shapes. Ignore anatomy for now.
If you see each part of the body as shapes (spheres, squares, rectangles), it’s easier to plot them out in relation to the angle of the perspective grid. Over here, you can see that the shapes are drawn in correspondence with the perspectives. I won’t cover much on this part, mostly because there’s already a hundred other perspective-box-shaped-how-to-translate-to-human tutorials out there that explains it a great deal better than I do. The vital point to take out of this part is that you must plot according to the position of each key point– the back curve, the hand angle, etc onto the geometric shapes when drawn. The box should help you out in this I hope.
5) Finally! Fleshing it out!
Yep. This is also where anatomy fixing happens, if you see the need.
Notice how the angle of the lad’s mantle, vambraces, shin guards, etc corresponds to the geometric shapes scribbled out earlier. This step becomes immensely easier with practice, but basically the gist is that the geometry lines help you determine the direction of the clothes and stuff you have to flesh out.
6) Not necessary, but put in shadows and shading to help solidify the scene.
I thinned out the scribbles here and dabbed on a dark color to immediately portray that the kid’s hiding in the shadow of some doorway. See, immediately there’s a background! And he does look like he’s sitting there and no immediate worries of how the anatomy or angles of things out of place, because the 16-square has already determined it for you beforehand.
Conclusion!?
I think the important part is that personally, this is easier for me to get into instead of looking purely at theories of horizon lines, vanishing points, etc because honestly, it is very difficult to see those if you’re drawing character-oriented pieces. While this technique is not foolproof and is actually more complicated (read: there’s actual math shenanigans in it that i didn’t get into), I think this is a good starting point for artists of any level to start training their eye to see in order to make characters better blend into the backgrounds.
Hope this helped and sorry for the length!

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
uuu thank u anon!! i hope this can explain it :^o
i use overlay all the time to make colours more vibrant and to make areas warmer or cooler. good for colourful ambient light (like glowy magic stuff).
multiply is really good for establishing a light source very quickly!! play around with the hue to get shadows with cool colours. for more detailed work you can use two or three tones on a multiply layer for more dimension.
screen is something i only recently started using regularly! it’s really great if you have a very bright light source. you can also use screen and paint on the edges of a backlit character to make the lighting more intense. a good thing to know about screen layers is that the darker the colour you use, the less it lightens; using black on a screen layer leaves no effect on the colours underneath (the opposite is true for multiply layers!).
and you can also use these layers for an entire painting instead of just on a character! i don’t have a visual example on hand, but stuff like making the area around a warm light source warmer, making a light source brighter and more vibrant, or using gradients set on multiply or screen are just some of the ways you can apply these to a full painting :)
separate one for ref ye