My art blog

The “Great” War - Comic cover/poster

The “Great” War - Comic cover/poster

aww thank you! i switched over to using krita a couple months ago, so the brushes i use are different now - i use a brush i made myself for lineart, and for the soft chalky shading i use this "pencil-6 quick shade" from their default brush set

on a whim I made a palette game dedicated to…. UNUSUAL color palettes. feel free to participate in any way you’d like

Patreon || Ko-Fi || Masterlist || Work In Progress

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Head Injuries

General Information | More

Hematoma

Hemorrhage

Concussion

Edema

Skull Fracture

Diffuse Axonal Injury

Neck

General Information

Neck sprain

Herniated Disk

Pinched Nerve

Cervical Fracture

Broken Neck

Chest (Thoracic)

General Information

Aortic disruption

Blunt cardiac injury

Cardiac tamponade

Flail chest

Hemothorax

Pneumothorax (traumatic pneumothorax, open pneumothorax, and tension pneumothorax)

Pulmonary contusion

Broken Ribs

Broken Collarbone

Abdominal

General Information

Blunt trauma

Penetrating injuries (see also, gunshot wound & stab wound sections)

Broken Spine

Lung Trauma

Heart (Blunt Cardiac Injury)

Bladder Trauma

Spleen Trauma

Intestinal Trauma

Liver Trauma

Pancreas Trauma

Kidney Trauma

Arms/Hands/Legs/Feet

General Information | More

Fractures

Dislocations

Sprains

Strains

Muscle Overuse

Muscle Bruise

Bone Bruise

Carpal tunnel syndrome

Tendon pain

Bruises

Injuries to ligaments

Injuries to tendons

Crushed Hand

Crushed Foot

Broken Hand

Broken Foot

Broken Ankle

Broken Wrist

Broken Arm

Shoulder Trauma

Broken elbow

Broken Knee

Broken Finger

Broken Toe

Face

General Information

Broken Nose

Corneal Abrasion

Chemical Eye Burns

Subconjunctival Hemorrhages (Eye Bleeding)

Facial Trauma

Broken/Dislocated jaw

Fractured Cheekbone

Skin & Bleeding

General Information (Skin Injuries) | More (Arteries)

femoral artery (inner thigh)

thoracic aorta (chest & heart)

abdominal aorta (abdomen)

brachial artery (upper arm)

radial artery (hand & forearm)

common carotid artery (neck)

aorta (heart & abdomen)

axillary artery (underarm)

popliteal artery (knee & outer thigh)

anterior tibial artery (shin & ankle)

posterior tibial artery (calf & heel)

arteria dorsalis pedis (foot)

Cuts/Lacerations

Scrapes

Abrasions (Floor burns)

Bruises

Gunshot Wounds

General Information

In the Head

In the Neck

In the Shoulders

In the Chest

In the Abdomen

In the Legs/Arms

In the Hands

In The Feet

Stab Wounds

General Information

In the Head

In the Neck

In the Chest

In the Abdomen

In the Legs/Arms

General Resources

Guide to Story Researching

A Writer’s Thesaurus

Words To Describe Body Types and How They Move

Words To Describe…

Writing Intense Scenes

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Masterlist | WIP Blog

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with specifically the highlights and colors being hues that compliment each other, don’t distract from the scene, and make it more interesting/visually appealing

cohesive but still contrasting

This kind of talks about color and composition

This is a bit about landscape specifically

Values & composition

Contrast in composition

Balance in colors & values

This one's more for palette building but I think it's useful and can be applied to the other ones

Cohesion within compositions/lighting

"Chromatic fringe" - I also see people using this with shading, they bring in a transition color that is a different hue than the base color or shadow, it makes it so that less vibrancy is lost and it doesn't get muddy!

This one specifically has a lot of process behind the style of painting you're looking for!

Also one of my favorite artists who makes bright and colorful art like this is Not Sorry Art on TikTok & YouTube, her website is here and it's<3 my fav. She has some videos where you can see her process

Here are a handful of quick tips to help you write believable characters! 

1. A character’s arc doesn’t need to grow linearly. Your protagonist doesn’t have to go from being weak to strong, shy to confident, or novice to professional in one straight line. It’s more realistic if they mess up their progress on the way and even decline a bit before reaching their goal.

2. Their past affects their present. Make their backstory matter by having their past events shape them into who they are. Growing up with strict parents might lead to a sneaky character, and a bad car accident might leave them fearful of driving.

3. Give reoccurring side characters something that makes them easily recognizable. This could be a scar, a unique hairstyle, an accent, or a location they’re always found at, etc.

4. Make sure their dialogue matches their personality. To make your characters more believable in conversation, give them speech patterns. Does the shy character mumble too low for anyone to ever hear, does the nervous one pace around and make everyone else on edge? 

5. Make your characters unpredictable. Real people do unexpected things all the time, and this can make life more exciting. The strict, straight-A student who decides to drink at a party. The pristine princess who likes to visit the muddy farm animals. When character’s decide to do things spontaneously or in the heat of the moment, it can create amazing twists and turns.

6. Give even your minor character’s a motive. This isn’t to say that all your characters need deep, intricate motives. However, every character should need or want something, and their actions should reflect that. What’s the motive behind a side character who follows your protagonist on their adventure? Perhaps they’ve always had dreams of leaving their small village or they want to protect your protagonist because of secret feelings.

...that your audience won't hate.

This is a method I started using when NFTs were on the rise - thieves would have to put actual work into getting rid of the mark - and one that I am now grateful for with the arrival of AI. Why? Because anyone who tries to train an AI on my work will end up with random, disruptive color blobs.

I can't say for sure it'll stop theft entirely, but it WILL make your images annoying for databases to incorporate, and add an extra layer of inconvenience for thieves. So as far as I'm concerned, that's a win/win.

I'll be showing the steps in CSP, but it should all be pretty easy to replicate in Photoshop.

Now: let's use the above image as our new signature file. I set mine to be 2500 x 1000 pixels when I'm just starting out.

That gives me a fair indication that I'm doing something right. ;V

Let me also restate that no anti-theft measure is foolproof. There are going to be ways around watermarks, always. A properly determined individual can always figure out methods of removing it.

However: add enough layers of frustration, and most will not see the point in bothering. Removing a speckled watermark from multiple images takes the kind of time and effort AI bros are, rather famously, unwilling to put in. If they have to do it for a whole gallery, most won't go through the trouble.

alright here we go!!

== WARNING FOR CLOSE-UP INSECT PHOTOGRAPHY BELOW THE CUT and also hilarious plastic skulls that i slapped some mandibles on ==

my blog contains so many bugs anyway but i am just being polite in case of people who (understandably) find them scary to look at. however there's also some of my cartoony art under here too so hopefully that balances

SO as with all things i find it extremely helpful to use a reference. the original ref of my character (which i can't seem to find) was even more insecty than the current one - bug has been through a few iterations while getting simpler/easier for me to handle each time, and now they look kind of cuter and more concise than they did back then. BUT while the design got simpler, the basics have stayed more or less in place, so let's look at the original first

the first thing you should know is that Bug is, as i've mentioned before, kind of a mixed up amalgam of lots of different bugs. but i based their main face structure on an ant, because i like their faces and they often have bigger mandibles than wasps and such

(on with the show!)

Don’t worry, I’m happy to answer! 🤲🏼

I found that finding a shape, even the most ‘unusable,’ ‘un-animal-able’ shape around you, and then replicating that shape as accurately as you can in a sinch (no streamlining! Shaky messed up lines are ENCOURAGED, living things are all imperfect squiggles, so minimize your erases and undos!) can help with silhouette ideas.

(The reason for that is that instead of deleting a ‘bad’ drawing outright, you can start anew or copy only the parts you liked, and then boom! You’ve got one drawing you’re happy with and another you’ll more likely than not return to in the future, however far.)

(A dozen fast, improvised designs can beat out a single painstakingly planned one. It seems counterintuitive that quantity can be better than quality, but that’s only if you know the quality ahead of time! When it comes to concept art, more is better at the very beginning.)

Once you’ve replicated a handful of shapes, don’t add eyes and ears. In fact, don’t draw anything you’d think of as something an animal would have. The frequent fallbacks are tails, claws, paws, toes, ears, horns, fur, wings, joints, teeth, snouts, and hexapedal, quadrupedal, and bipedal bodies with heads in the front. These things are not universal, they are just our earthly scope of our closest relatives.

Modeling an alien species after insects, birds, reptiles, or sea life will make your alien nonhuman, but still earthling. These categories won’t necessarily arise in an alien world. Evolution doesn’t produce birds as we know them, evolution takes the most convenient source material and produces something to fill the niches birds occupy, and birds happened to be that source material.

I like to think about building a species like building a robot. How does a robot know where it’s going? Light sensors, maybe. Those don’t need to be orbs, or even at the front. How do some robots move? They don’t necessarily need spines or toes or claws or tails. How is fuel acquired? Lots of earth animals happen to have a hole in the front that sucks it in and breaks it up for refinement. Does it only have to be this way?

The more you separate life from Earth and relate it more to processes, means to the goal of continuing one’s design’s existence, creating more and more alien but still feasibly alive creatures becomes easier.

Above all, it should be fun. Researching biological precedent and basis from actual animals isn’t absolutely required, because those processes are based on logic—through which you can invent (or accidentally independently replicate) your own symbioses, organs, life cycles, and body chemistries.

Earth nature is like a template: working too closely from it can make you something that’s feasible, but could be recognizably earthly. Imagination is like raw resources: difficult to refine into something that makes total sense at first (from a lack of reference and guidance), but, with the right balance of templates and shots in the dark—you can make something positively, confidently alien!

You don’t have to do this if you don’t want to of course! It’s not a rule set, and you aren’t doing anything wrong if you don’t do them. The ultimate goal is to enjoy creating, not just the end result. Your aliens should be fun for you to draw. The amount of worldbuilding you want to do is your choice alone and no one else’s. Stopping at a single species, culture, planet is perfectly OK. Don’t let guides or other worlds pressure you into making more than you’re craving to.

Another tutorial for you guys!

hoomans