I like art

it is a true thing!!

dinosaur agrees.

ALSO i know it is verry hard to not think of things. you try to not think about thing and it just makes you think about thing, so here is nice list of alternatives to try TO think about instead:

bioluminescent fish and other weird stuff in the deep ocean

bugs, especially the shiny ones. nice shiny beetles.

dinosaurs

the wonderfully, spectacularly terrible special effects in The Giant Claw (1957)

foods? yes, foods.

How very weird 1830′s dresses are

clam shrimp, which are apparently a real actual thing that exists even though they look and sound like they belong in the Avatar: The Last Airbender universe.

chickens, which are like dinosaurs only better because they are still existing and can give you eggs

carnivorous plants

fancy embroidery

You're so peakk btw ahh

helloooo sorry it took me a bit to answer this rip thank you so much for your kind words !! i also use ibis paint so here's some tips under the cut in case it gets too long:

When character is angry:

Snapped

Spat

Snarled

Hissed

Barked

...or sad:

Choked

Mumbled

Managed

Croaked

Murmured

...or if they're feeling nervous:

Stammered

Babbled

Rambled

Muttered

Squeaked

...and even when flirting:

Coaxed

Purred

Teased

Hummed

Unless you're drawing explicit realism, in my opinion, expressions should be exaggerated to some degree. If you aren't doing a 1:1 recreation, the point is to get the FEELING across. Try making the expression you want to draw and feeling how your face pinches and stretches.

Skin doesn't just "disappear" when your face moves it around --- that's where wrinkles come from! Pay attention to where your skin creases when you emote, and use it to your benefit. It's a fine line between overdoing it and underdoing it -- find your own balance.

Ultimately, every expression has a little bit of push and pull, unless your face is completely neutral (and even then, there are still some wrinkles...). Learning to think of expressions as actions and reactions is VERY helpful in learning to draw them without needing a reference, and in learning how to stylize and push expressions based on references as well!

I think a lot of people end up with stiff or unexpressive emotions in their art because they're just trying to recreate a picture instead of understanding WHY and HOW the face is moving --- and it's a tough thing that takes a while to really pick up and learn. Hopefully is helpful in showing a way of thinking about it that can influence your process and approach to emotions!!!

Also, bonus: even without the lines, the planes alone still show a LOT of emotion.

I've just released this free "Symmetry Move Brush" tool on Clip Studio Assets.

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I was asked by a friend yesterday if I could offer basic tips about comic paneling. As it turns out, I have a lot to say on the matter! I tried breaking down the art of paneling using the principles of art and design, and I hope it helps you out!

EDIT: uh uh there are a lot of people reblogging this, so i figure i may as well append this now while i can lol

This whole thing was very much cranked out in a few hours so I had a visual to talk about with a friend! If this gives you a base understanding of paneling, that's awesome! Continue to pull in studies from the comics you see and what other artists do well and don't do well! You can tell paneling is doing well when the action is flowing around in its intended reading format.

Here's the link to the globalcomix article from which I pulled the images about panel staggering! Someone sent in a reblog that it wasn't totally clear that the 7th slide mostly covers what NOT to do in regards to staggering, and that is my mistake!

I saw in a tag that someone was surprised I used MamaYuyu too, and I don't blame them lol. If I had given myself more than a couple hours maybe I would have added something else on, I just really admire MamaYuyu's paneling personally.