a kangaroo with a brush

"and the centry owl stood guard, protector of all in need." TFE, S1E13

Love love love Nightshade's new form 🦉

unfortunately my ipad is a piece of shit and can’t handle screen recording, so it’s just a bunch of layers from one of my recent drawings and suffers from a bit of “now draw the rest of the owl”, but I think it could be helpful anyway?

image tutorial under the cut!

Finished! Hooray! The Glitching Out Brush Pack is over yonder.

You can change the size & spread by adjusting the gap & brush size values in settings. Compatible with Clip Studio only!

Bounce light is something I didn't cover but I adore it!

Learning color theory through oil painting is more difficult than learning it through gouache & watercolor, primarily because it takes way more time to find mass tone and mix everything and also it's much less obvious to easily and quickly discern if a paint pigment is highly staining or transparent.

Oil painters like to seem like they have the richest and most storied traditions in color theory to past down but also inevitably they are the most likely to retain an extremely limited chroma palette based on classical palettes for the sake of classicism and not always make that fact very apparent to a beginner aside from saying it's an "old masters palette" watercolor/gouache painters are bad at using paints that are not light-fast and clinging to them despite having better alternatives, but generally still understand chroma gamuts and pigment importance better or at least talk about them more.

When you're mixing paints, the earth colors (browns) don't need to handled and thought of as brown. Ask yourself if the brown is yellow, orange, red, or leaning towards a black (which would be treated as a violet or blue, depending on whether black is warmer or cooler).

Yes there are cool reds and warm blues

Any reference color wheel that places red on the very top hurts my feelings, stop doing this just because you learned "roygbiv". Yellow is at the top and the Indigo-Blue range is on the bottom because this also means the color with the lightest possible value is opposite the color with the darkest possible value, so you have the colors arranged with a value scale from top to bottom BUILT IN.

This makes me think makeup artists have good color theory, having to understand undertones of skin, warm v neutral v cool toned red lipstick....

Yes!!! I mean first of all, makeup artists are artists.

and they are ALSO ultimately just blending pigments to produce certain colors and effects, so yeah professionally do study the basics of color theory and then necessarily have to adapt it to their medium. And they tend to generally add like, what you talked about with recognizing cool/warm/olive/neutral undertones and such as a big consideration to their canvas.

And that IS why people will say "this is a cooler red lipstick" (although even cooler than that would be magenta or fuschia!).

I think the only thing I've noticed wrt to honestly mostly beauty influencers and not actual professional MUAs is that too many people buy an eyeshadow palette of cool tones in the palette and then put it on and complain it pulls "too warm for their cool skin." And it "isn't actually a true cool tone palette."

I just want to grab all these people by the face and say:

"Shhhhhh. Color temperature is relative. Although you have cool skin undertones, you ALSO have blood under your skin which will inherently make your base skin-canvas slightly warm no matter your foundation shade. So when you put any kind of pigment that isn't fully opaque onto your skin, the transparency WILL be warmed by your skin because you're alive and have blood still. The eyeshadow palette IS a cool palette. You're just not a vampire, which is why that cool taupe shade suddenly looks different from the mass tone in the palette."

These influencers would understand this better if they did some watercolor painting on pre-tintedpaper and then compared it to painting on pure white.

Handprint.com is hands down the most comprehensive scientific explanation of how different color wheels or palette choices work. It's big and dense and exceptionally thorough. I skim frequently and find myself always learning more. https://handprint.com/HP/WCL/water.html everything is done using watercolors as a reference point but a LOT of this translates to other mediums. For the record his CIECAM color wheel is what I consider to be the best (not 3 dimensional) color wheel for artists. Period.

He uses pigment numbers for some of the most common watercolors rather than specific paint brands or color names to place the pigments. It's also a case study in why yellow being at the top is the best because it also means you have a value scale from top to bottom (since black paints are just dark violets or blues, ultimately.)

When you look at this, you can start realizing more and more why the earth colors can be used as if they were like, straight red, or yellow, or orange. Like if you wanted to make a limited palette, you could use "burnt sienna" as your dark yellow (which will make the whole palette lean orange!) Or it could be your orange or you could use burnt sienna as your red. (Look at gamut masking links below)

Seriously it's good to try and swatch your medium (even really quickly!) Within a CIECAM Artist's color wheel. Below are two of my attempts:

From loose memory and then mapping pigments roughly.

He also discusses the difference between visual complements and mixing complements!

Anyways absolutely try to read bits and pieces. The whole site is amazing. Handprint is amazing.

Also:

https://gurneyjourney.blogspot.com and James Gurney's book: Color and Light: a guide for the realist painter. James Gurney is the dinotopia guy. That book is also amazing for painting fantasy with lots of fantastical examples. Here are two short videos on gamut mapping and gamut masking. Accompanying blog posts.

No surprises here! His book also charts pigments:

Actually these are my four favorite books hands down:

Color and Light: a Guide for the realist painter - James Gurney

Color for Painters: a guide to traditions & practice - Al Gury

The oil painters color handbook - Todd m casey

Artist's master series: Color & light - 3d total publishing. This one emphasizes digital!

The first two have been out for awhile now and you can more easily find them cheaper/used online than the latter two which are relatively newer and hefty hardbacks.

Also, from personal experience: al gury is a sweetheart angel who is a huge crazy cat man. I adore him, he's so kind and helpful. I think it's a little late to join the current session (although they did only start Jan 28, so you can always ask! Class videos are recorded), BUT he frequently offers a class on color that is fully online through PAFA continuing education, as well as other classes. I haven't taken it yet, but I HAVE taken other classes online with Al and he's really great.

Oh also online gamut masking tools:

In krita: https://docs.krita.org/en/user_manual/gamut_masks.html

https://claudiamatosa.com/resources/gamut-masking simple tool

https://mypaintingclub.com/blog/post/39-The-Gamut-Mask-Tool another tool with more complexity

for environments:

shot deck is a massive database of film shots searchable by grading, tod, shot type, characters and content! Studying from films really helps improve your values and composition as the shots are usually very carefully constructed! It helps you find ways to maintain realism while still packing mood and narrative into your work!

master paintings! I recommend the orientalists like Jean Leon Gerome in particular their environments had great compositions and throw around a ton of colour and light! I like the modern artists Craig Mullins and Richard Schmid also, as there is so much impressionist lost detail and simplicity yet the environments feel so real.

The 1960s era disney background artists like eyvind earle are a masterclass in stylisation and simplification and make a wonderful choice for studies. (That being said modern disney visdev artists like Nathan Fowkes are just as fantastic to study for the same reason)

architectural photography can be a great resource too- I love to look for work by urbEX people!

thumbnailing and comp studies- trying to break down a photo into as few values as possible and still have it be readable- this really helps train your brain in the relationship between light exposure and local value.

Im begging you if doing it in colour is too hard to start with just do it in black and white!!!!! Greyscale painting is an essential step in learning to paint and understand lighting scenarios!! Colour is hard!!!

there is no substitute for going outside and doing some plein air painting- really looking first hand at how the light effects different materials and objects, how it bounces around, what edges your eye naturally loses in certain lighting scenarios. Just go outside and draw and try to notice stuff.

for characters:

figure studies!!!! from life if you can but if you cant there are a ton of great resources out there- personally I love croquis cafe and posespace, but if you can afford it (and are interested in intense anatomy study) then scott eaton has a site called bodies in motion which is fantaaaastic. I think by now everyone knows nyx and senshistock, I also use a lot of grafit studio photorefs to study more complicated poses!!

Master studies (again). I particularly like to study the work of John Singer Sargent, Joaquin Sorolla, Edwin Austin Abbey, Alphonse Mucha (his le pater compositions are out of this world), any of the New Rochelle artists (e.g rockwell, tom lovell, those 1950s illustrators REALLY knew their shit).

I literally have a resin skull on my desk that I've used to do quick studies with different lighting, just 10 mins a day back when I was doing it and it levelled up my skill a lot!.

Material studies are essential to leveling up your character painting!!! Look at fur, look at metal, look at the way something embroidered reflects light vs tooled leather!!

gesture studies! Look at a dynamic pose and see how you can exaggerate the motion in away that captures the sense of movement. This is tricky to start with but its really worthwhile especially when you combine it with other exercises. Mixamo is a cool library to look into for this kind of thing as you can pause and rotate the models in the middle of their actions!

breakdown the work of artists you admire- it's ok to study other living artists (and try to reverse engineer how they are making their decisions) it's a very effective learning tool! Really figure out what it is about that persons workflow you like, and how you might incorporate that element into your own. Obviously, dont post studies of living artists work!

The most important thing is that when you do a study you go into it knowing what you want to learn. Dont try to do everything at once! It's ok to focus on the muscle structure and not give a damn about the gesture. It's ok to focus on the texture of the fur and completely ignore the characters face.

The best way to keep doing studies is to find refs you like- things you are interested in and that capture your imagination! Follow your curiosity and remember that just a tiny little bit a day makes a huge difference.

This is part four in my series about making my first book, You Are a Sacred Place, and also about making literally anything at all.

Read parts 1–3

a little informational guide on trying to find skintones from 3d refs :)

🔹 Part 1 of ??? - The Basics!

Edit: Now available in Google Doc format if you don't have a Tumblr account 🥰

Hello, my name is Tofu and I'm a professional pixel artist. I have been supporting myself with freelance pixel art since 2020, when I was let go from my job during the pandemic.

My progress, from 2017 to 2024. IMO the only thing that really matters is time and effort, not some kind of natural talent for art.

This guide will not be comprehensive, as nobody should be expected to read allat. Instead I will lean heavily on my own experience, and share what worked for me, so take everything with a grain of salt. This is a guide, not a tutorial. Cheers!

oh gosh thank you so much anon!! honestly i find kisses really difficult too, so i'm not sure i'm particularly qualified to make a tutorial >< however i am happy to share more of my process and how i've been approaching them!

here's the timelapse for all the superbat kisses! i didn't record the very beginning but it looks like this:

1) super duper rough shapes - lately i've found it really useful to start with silhouettes so most of my drawings from the last year or so start off like this

2) sketch - roughing out some of the more finicky parts like hands and faces

i think one of the hardest parts of a kiss is getting the head angles right, so that's what i tried to focus on most here! (you can see me really struggle with the angle on bruce's face in the fourth sketch lmao)

also references are a lifesaver!!!!! when it comes to anatomy, i prefer to reference actual people before i look to drawings. this set of drawings is actually referenced from a single scene that i thought had some nice poses:

(teen wolf s1e6)

yayayay!!! okay i have a whole sheet AHAHHA lets do this

first off i learned facial lines from references and i used to shy away from drawing adult but not OLD characters with wrinkles at all but it really is essential to really drive home an expression- it exaggerates what it needs to without you having to make an expression too anatomically incorrect- facial lines are ur bestie!!

i found these photos of someone young and two older women, and mapped out the wrinkles specifically when they smile !!

i then either grabbed an existing hal smiling or drew a new one!!

i did find a drawing of hal looking mouthy/sassy and decided to do that too cuz smile lines arent the only lines youll get on a younger face if the expression is … well expressive enough-

hal’s eyebrow is raised causing a forehead wrinkle cuz the skins being compressed and to drive home the disgust hals probably feeling he has a line going from above his nostril and pulled taut around the jaw. its something subtle but those kinds of lines are things that make an expression look more realistic and are less likely to make a character look older than you’re intending them to look!!

i also came up with this ‘thin cloth over the face’ metaphor for how to eyeball wrinkles once youve got the hand of referencing wrinkles and dont need to draw up references for face lines- tbh it just helps some people to deconstruct and reconstruct (pun not intented) in a different way. like taking apart a pen and putting it back together. plus its just fun

sometimes its just hard to imagine a 2D drawing as a 3D concept so it always helps to follow a metaphor or deconstruction of anatomy to help starting the process of moving away from realism and simplifying it to fit ur own styleee

also cuz ive been mainly talking abt younger adult faces heres some drawings of alan scott!! hes my fav old guy… i need to draw more old people but their wrinkles usually stay on the face but are obviously less taut when not in use, they just kinda gather like. as i said before like a thin cloth, like dangling cloth the wrinkles stay but gain dimension

anyways yeah heres also an example of forehead wrinkles for a more angry/frustrated/deeply confused expression and a real life reference!!!

genuinley hope this helps i do LOVE making tuts always feel free to ask me for help with whatever :3

Part 1: Long masc hairstyles + playing with fades

i tried to make a tut on how i draw bodies but it came out as a mix between me trying to make sense of my lazy technique and general art tips??

i get overwhelmed by complex scheming and sketching so i try to sketch with the least lines/shapes possible.

if you find this method too difficult-dont worry. ive had years of practice and ive developed a lot of shortcuts for myself, so this might be like reading the notes of a student who has their unique set of abbreviations.

well my style is around semi-realism so i dont strive for 100% likeness, but this is how i achieve it!

we dont usually consciously think about specific features-but its what makes people recognisable.( i admit-there are plenty of actors who look EXTREMELY similar but thats where exaggeration comes into play the most-emphasise on certain features to make them pop out)

for me the trick is to a)know how to draw a face in general and b)look for very simple and only a few noticeable facial features. i think people get overwhelmed bc yes, faces are complex, but if you simplify&break it down into categories i think it becomes slightly easier

what sets people apart is: -face shape(long, rounded, wide) -contours(pronounced forehead, flat/rounded cheekbones, defined chin, protruding chin/no chin) -facial features(hooded/sloping eyes, crooked/upturned nose, lip shape, flat/arched eyebrows) -scars/beauty spots/etc

see how these go from big to small? so you start with the most general-face shape! then you see if you can find any noticeable contours, then you work with simplifying the facial features and lastly you add any other details(vitiligo,birthmarks, tattoos, wrinkles,stubble,scars,moles,etc)

of course some people have trouble with grasping faces/recognising faces/differentiating between people but i honestly dont know how to stretch my advice to their position too because i dont know what would work for them, so as a final disclaimer-this is only from my standpoint and applying to my abilities! 

After seeing post like this 👇

And this gem 👇

As well as countless of others from the AI generator community. Just talking about how "inaccessible art" is, I decided why not show how wrong these guys are while also helping anyone who actually wants to learn.

Here is the first one ART TEACHERS! There are plenty online and in places like youtube.

📺Here is my list:

Proko (Free, mostly teaches anatomy and how to draw people. But does have art talks and teaches the basics.)

Marc Brunet (Free but he does have other classes for a cheap price. Use to work for Blizzard and teaches you everything)

Aaron Rutten (free, tips about art, talks about art programs and the best products for digital art)

BoroCG (free, teaches a verity of art mediums from 3D modeling to digital painting. As well as some tips that can be used across styles)

Jesse J. Jones (free, talks about animating)

Jesus Conde (free, teaches digital painting and has classes in Spanish)

Mohammed Agbadi (free, he gives some advice in some videos and talks about art)

Ross Draws (free, he does have other classes for a good price. Mostly teaching character designs and simple backgrounds.)

SamDoesArts (free, gives good advice and critiques)

Drawfee Show (free, they do give some good advice and great inspiration)

The Art of Aaron Blaise ( useful tips for digital art and animation. Was an animator for Disney. Mostly nature art)

Bobby Chiu ( useful tips and interviews with artist who are in the industry or making a living as artist)

Sinix Design (has some tips on drawing people)

Winged canvas (art school for free on a verity of mediums)

Bob Ross (just a good time, learn how to paint, as well as how too relax when doing art. "there are no mistakes only happy accidents", this channel also provides tips from another artist)

Scott Christian Sava (Inspiration and provides tips and advice)

Pikat (art advice and critiques)

Drawbox (a suggested cheap online art school, made of a community of artist)

Skillshare (A cheap learning site that has art classes ranging from traditional to digital. As well as Animation and tutorials on art programs. All under one price, in the USA it's around $34 a month)

Human anatomy for artist (not a video or teacher but the site is full of awesome refs to practice and get better at anatomy)

Second part BOOKS, I have collected some books that have helped me and might help others.

📚Here is my list:

The "how to draw manga" series produced by Graphic-sha. These are for manga artist but they give great advice and information.

"Creating characters with personality" by Tom Bancroft. A great book that can help not just people who draw cartoons but also realistic ones. As it helps you with facial ques and how to make a character interesting.

"Albinus on anatomy" by Robert Beverly Hale and Terence Coyle. Great book to help someone learn basic anatomy.

"Artistic Anatomy" by Dr. Paul Richer and Robert Beverly Hale. A good book if you want to go further in-depth with anatomy.

"Directing the story" by Francis Glebas. A good book if you want to Story board or make comics.

"Animal Anatomy for Artists" by Eliot Goldfinger. A good book for if you want to draw animals or creatures.

"Constructive Anatomy: with almost 500 illustrations" by George B. Bridgman. A great book to help you block out shadows in your figures and see them in a more 3 diamantine way.

"Dynamic Anatomy: Revised and expand" by Burne Hogarth. A book that shows how to block out shapes and easily understand what you are looking out. When it comes to human subjects.

"An Atlas of animal anatomy for artist" by W. Ellenberger and H. Dittrich and H. Baum. This is another good one for people who want to draw animals or creatures.

Etherington Brothers, they make books and have a free blog with art tips.

📝As for Supplies, I recommend starting out cheap, buying Pencils and art paper at dollar tree or 5 below. If you want to go fancy Michaels is always a good place for traditional supplies. They also get in some good sales and discounts. For digital art, I recommend not starting with a screen art drawing tablet as they are usually more expensive.

For the Best art Tablet I recommend either Xp-pen, Bamboo or Huion. Some can range from about 40$ to the thousands.

💻As for art programs here is a list of Free to pay.

Clip Studio paint ( you can choose to pay once or sub and get updates. Galaxy, Windows, macOS, iPad, iPhone, Android, or Chromebook device. )

Procreate ( pay once for $9.99 usd, IPAD & IPHONE ONLY)

Blender (for 3D modules/sculpting, animation and more. Free)

PaintTool SAI (pay but has a 31 day free trail)

Krita (Free)

mypaint (free)

FireAlpaca (free)

Aseprite ($19.99 usd but has a free trail, for pixel art Windows & macOS)

Drawpile (free and for if you want to draw with others)

IbisPaint (free, phone app ONLY)

Medibang (free, IPAD, Android and PC)

NOTE: Some of these can work on almost any computer like Clip and Sai but others will require a bit stronger computer like Blender. Please check their sites for if your computer is compatible.

So do with this information as you will but as you can tell there are ways to learn how to become an artist, without breaking the bank. The only thing that might be stopping YOU from using any of these things, is YOU.

I have made time to learn to draw and many artist have too. Either in-between working two jobs or taking care of your family and a job or regular school and chores. YOU just have to take the time or use some time management, it really doesn't take long to practice for like an hour or less. YOU also don't have to do it every day, just once or three times a week is fine.

Hope this was helpful and have a great day.

All the photos on this tumblr ad the animal photo reference site I run is another resource available for artists to use!