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[start image description: Digital drawings of various poses on multiple pages. There is some text on the pages. In the first page the text reads: “Spend a lot of time looking at how people stand. Observe yourself to avoid stiffness, curve the body the body/shift hips and posture of the spine. Arms can break up lines.”
The second page’s text reads: “More focused. More open/relaxed. Very relaxed/sleepy. Foot skids in, tilt for speed. Changes to spacing of leg without changing anything else alters feeling. Consider what you want to convey through posture.“
The third page’s text reads: “Firm pose, weight on this leg. Same pose but body is angled. Less firm, looks cocky. Weight on this leg. Not very bendy (body straight), but angle gives attitude. Angle body plus adjust perspective can make it pop. Focus is on the upper body (especially arms and face).”
The fourth page’s text reads: “Big curves, big movement, big emotion. If something is mostly straight, pop something out so it doesn’t look stiff. Arm pops out, spine and leg. Looks down, can be calm or uncertain. Body droops, pops out. Weight.”
The fifth page has no text, rather there are multiple sitting poses on a page.
The sixth page’s text reads: “Dramatic poses can be derived from dance, sports, fashion poses, et cetera. Leg pops up, push down on this leg. Extend! pops out. Weight still here.”
The seventh page’s text reads: “Position draws attention to certain body parts. You want to guide the eye. Foreshortening can be a curve. Interesting bits: head and hands position (torso is the rigid part due to position).”
The eighth page’s text reads: “Extra examples.” /end image description]
Body poses! Trying to make this was actually kind of difficult. I struggled trying to articulate how I placed people in spaces considering quite a bit of it is intuitive at this point. This guide’s focus is less about anatomy and more about flow and bodies in various positions and amount of motion. Sometimes the most difficult ones are the relaxed ones, mostly because it is subtle and can quickly become stiff. Hopefully this can be of some use. I think another thing that might help with positioning the body is to work on conveying physicality of the person in the image (how the flesh squishes and rests in contact with other things). I also spend time looking at other art as well as other bodies. Looking at bodies (including yourself as a reference) can really be done anywhere in any circumstance. For example, I did 6 yrs of musical theater with 2 of those 6 years doing tap. Staring at other people plus yourself when learning and practicing how to dance increases your awareness of your body position with others. This awareness can be utilized in other things outside of dance, as can be seen with how I place bodies.
It’s Meg, back at our regularly scheduled TUTOR TUESDAYS! Today we dive into some useful exercises for environment/color studies! If you have any tutorials/exercises you’d like to see, lemme know here or my personal! Keep practicing, have fun, and I’ll see you next week!
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i love your art so much...do you have any advice on drawing (anthro) canine faces?? like expressions different angles etc... its one of the things i struggle with the most and you always draw it so beautifully
(its just a common begginner issue i see where people draw them the other way around)
i can really reccomend this site which can show you reference pictures for different species at different angles
overall the way i draw is very stylised so it might not be close to the canines you draw! But i feel this advice is quite universal, i dont know if it helps but i tried : ]
Oh masterful one, I am but a mere anon who is curious about how thE FUDGE TO YOU DRAW YOUR ABSOLUTELY AMAZING FACIAL FEATURES???
LOLOL “MASTERFUL ONE” ya give me too much credit my guy 😂
There’s a lot to cover on this topic but hopefully this helps you get started! And of course, study that head/face anatomy & use reference on top of these tips!
Pro-tip, keep a mirror by your desk while you work. It doubles as drawing reference AND a way a watch your back for when your brother comes in tryin’a nerf gun you.
i got asked how i paint my fur and here's a messy illustration of my general principles! hopefully this can help at least one person to get closer to conquering fur because i know the struggle damn well
This post was meant to answer an anon who requested a hair rendering tutorial 😭 I kept on getting an error message from tumblr when trying to post the answer and accidentally deleted the ask </3
I'm not sure if this can be considered a tutorial since my process is mainly just throwing in gradient maps, experimenting with blending modes, and spamming texture brushes until it looks good (I basically just wing it most of the time....)
Also sorry if it's unclear! Please let me know if you have any further questions! I will try my best to answer them :D
I really love the sort of looseness and expressiveness and solidness that your artwork has, and I didn’t realize that they were all you but you’ve made some of my favorite TADC art recently! Thank you so much for sharing it! Anyway, I was wondering if you could say anything about your process and techniques when drawing?
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omg thank you so much??? That's such high praise, I'm so flattered!!!
and I'm ngl I'm not entirely sure how to answer that? :'D My art process tends to be a bit chaotic - I do have a specific order of that I like doing things in, but a lot of my rendering especially consists of me testing around until I get the colors the way I want them to look haha
I've actually been meaning to lay out my coloring process in more detail so this was a really good opportunity to make some example pics for visual aid lol
elaboration under the cut, since this will be very in-depth and thus long!
So first of all I usually tend to not do lineart - even when it looks like I did lineart, in 19/20 cases I've just edited the rough base sketch until it looked tidier LMAO
like- my most recent comic for example had lots of that!
I tend to prefer sketch cleaning over lineart just bc I feel like whenever I do proper lineart it's bound to look uneven and awkward (there's also something weirdly therapeutic to cleaning up a sketch? Idk)
For the next steps' examples I decided to color out one of these random practice sketches I made the other day
Then for my base coloring I prefer to use big, smooth brushes with pressure based opacity (in this case the turnip pen) - as I color I like to use the C key to toggle between applying color and turning my brush into an eraser
I also use separate layers for different "groups" of colors (like one for the body color, one for the clothes, one for the hair etc) - this is bc I am a spoiled brat who's addicted to the clipping layer setting - they make it so nicely easy to apply blush, freckles, patterns etc so that's a big part of why I separate my coloring layers excessively
Sometimes I need them all merged to one layer, in which case I'll group the coloring layers together and make a safety copy of the group that I'll just keep invisible - then merge the og coloring down to one layer before I move onto shading. If something goes wrong or I need to change a lot of colors that I don't wanna re-apply manually I can always go back to the group with the neatly separated layers!
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For my shading I always start with a multiply layer and clip it on top of the base colors (shown below an example of the shading layer on multiply vs normal setting)
Then I pick one darker color and one lighter one into my foreground and background color thingies(?)
these things ^
and bucket-tool fill the whole layer with the darker color. I then apply and blend my way through the shading using the default CSP guache brush (I like the texture and feel of it) and the X button to swap between the two colors. Mentality-wise I try to imagine where the light would hit the subject I'm shading and then just. Add light there. I'm sure you can start with the lighter color as well and then add the shadows using the darker one, but I personally find it a bit easier to work in the opposite order.
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Next we have some ambient occlusion of sorts? (once again below showing the layer set to "add" vs "normal")
I make a new layer, set it to "add", clip it on top of the base color and multiply shading layer and bucket-tool fill the whole canvas with black (black becomes "invisible" with the layer set to "add" so it makes for a great color to blend out the added highlights with with a bit of texture to it) before applying the lighting - basically using the same brush and X hotkey method from the multiply layer step.
I like doing 2 colors of light coming from opposite directions (keep the actual color you're working with dark tho, keeps it more subtle and is easier to smoothly blend) but sometimes - if I see the need for it - another color or two just to highlight certain parts and make them pop.
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Everything that comes next is what I'd call "optional color adjustments" territory - they're experimental things I do to take my rendering to the next level and I don't consistently apply them, since it really depends on what I'm drawing and how I want it to look!
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First we have the result of me going "man the colors are looking a little washed out/dull now" and here's where that merged base color layer copy comes into play - I copy it, paste it above all the other shading, then hit CTRL+U and use the adjustment sliders to crank up the saturation pretty close to max and lower the luminosity a bit, before setting the layer to the mode "color" and pulling the opacity down to half or less
This brings the flat colors out a bit more without un-doing the shading:
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Next we have something I sometimes do on faces specifically, which is lightly air-brushing a pastel color (in this case a light pastel pink) onto some larger sections and turn the layer mode to "soft light" - it softens the outlines a little and brightens that part in a very subtle way I personally really like. Draws your eye to it without feeling busy!
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Up next is what I'd normally consider the very last step of my "really detailed" rendering style - the touch-ups.
It looks complicated but is actually really simple - just tedious LMAO
I basically just make a new layer above every other layer, then pick various colors off of the image (by holding ALT and clicking onto whatever spot I wanna pick from) and use my basic flat marker tool (that I also primarily use for sketching) to manually sketch in some texture details or highlights
it looks deceptively subtle but it seriously makes WORLDS of difference
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WE HAVE ENTERED THE POST-PROCESSING ZONE!
oftentimes after saving a PNG duplicate of the drawing I just made I'll open said png and start piling effects on top to bring more out of the drawing for either atmosphere or just my own enjoyment LMAO
with that in mind, here's some fun effects I like to do:
BLUR
copy the merged image layer -> gaussian blur the copy -> erase whatever spots you want to be sharp and in focus -> enjoy the soft
I would recommend not to go overboard with this one lol
2. COLOR VARIATION
copy merged image layer -> go to menu bar -> click "Edit" -> "Tonal Correction" -> "Tone Curve"-> go WACKO mode on it
-> behold your holographic abomination
-> set the layer mode to "color" and crank the opacity down to somewhere between 10-40% -> PROFIT
3. GRADIENT MAP
admittedly this one I use basically never but it's still neat to know for the occasional random case
-> copy merged layer -> hit CTRL+U -> pull saturation all the way down -> go to menu bar -> click "Edit" -> "Tonal Correction" -> "Gradient Map" -> experiment to your preferences
It also honestly just really improves the process of making a black and white version of a drawing? Example:
the first image is with just the saturation pulled down, the second one is with the default b/w gradient map applied!
4. CHROMATIC ABERRATION
this one is to be enjoyed carefully and in measures since it can be very eyestrain inducing!
Also CSP EX has a ready-to-use filter option for this but I only had CSP pro for the longest time so I'm explaining the manual method I've done in the last:
you'll want to start with a copy that has the saturation slider pulled all the way down like in the last example
go to "Edit" -> "convert brightness to opacity" -> go to your layer settings and click "lock transparent pixels" -> slap a bright neon red or pink onto everything on that layer -> set layer mode to "overlay" -> copy layer -> hit CTRL+U -> pull the hue slider all the way to the left or right -> pull both layers around indivudally and ONLY VERY SLIGHTLY into opposite directions using the transform tool (CTRL+T)
tadah!
I think this is more than enough for now - I hope it helps??? We don't gatekeep art knowledge in this house!
Btw if you read the entire thing you deserve one million homemade cookies!
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.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
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.
✓ Live Streaming✓ Interactive Chat✓ Private Shows✓ HD Quality✓ Free Actions
Free to watch • No registration required • HD streaming
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