How to Paint Light by jonhuangart
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@toontime
How to Paint Light by jonhuangart

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
I am so serious when I say if you want to learn about light, you NEED to at least look at modesevenās tutorials. even if youāre not pursuing a painterly style, this is all essential theory that can be easily adapted to different coloring styles. notice how none of these ever say ālight with these colors and shade with these colorsā? notice how this is teaching how light works on a mechanical level, and reminding the audience to adjust the actual colors they choose by context? THAT is good advice.
(if youāre thinking āwow I want to study more of this persons art!ā I encourage you to do so, but proceed with the knowledge that modeseven draws pretty much exclusively weird as hell kink art. sometimes wisdom comes from horny places)
Deep Thought Balloon is a fantastic youtube channel by cartoonist Brian McLachlan with all kinds of drawing and comic-making tips. each vid is super concise and packed full of knowledge. check out this playlist of their comic tutorials!
for all the artists out there, here are my favorite resources i use to learn!
Files
The Complete Famous Artist Course
Art Books and Resources
Art, Anatomy, and Color Books
PDF Files of Art Books
YouTube
My YouTube Playlist of Tutorials
How to Draw Facial Features
Drawing and Art Advice
Drawing Lessons
Art Fundamentals
Anatomy of the Human Body
2D Animation
Perspective Drawing
Websites
Pinterest Board for Poses
Another Pinterest Board for Poses
Reference Angle
Figurosity
Sketch Daily
Human Anatomy
Animal Photo References
Humanae - AngƩlica Dass
Fine Art - Jimmy Nelson
Character Design References
CDR's Twitter Account
iamagco's Twitter Account
taco1704's Twitter Account
takuya_kakikata's Twitter Account
EtheringtonBro's Twitter Account
Drawabox
Color Wheel
Color Palette Cinema
Free Images and Pictures
Free Stock Photos
FILMGRAB
Screen Musings
William Nguyen Light Reference Tool
Animation References - sakugabooru
Animation References - Bodies in Motion
SYCRA IS BACK! so glad to see his channel has been recovered after being hacked a few months back. this is a great video from about a year ago where he talks about viewing your own work as if you were helping someone else on their work. i've found it much easier to give others advice than work on my own work, so this really hits home for me!

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
I have officially closed the kofi membership, at least for now, so⦠nothing holding me back from sharing the chibi tutorials (so far, I'm going to be updating it in the future~) š¤ ENJOY! INTRO
PEA CHIBI
BEAN CHIBI
(tbc...)
I think iāve cracked the code
*looks at gay couple* so which of you is the apple and which is the banana?
āYOU DID IT, YOU BROKE DOWN CHARACTER DESIGN TO ITS BARE ESSENTIALSā
āJust because you took longer than others doesnāt mean you failed.ā
ā (via hefuckin)
Iāve recorded a video of the process of animating a simple morph between two drawings. Itās the first exercise I run when introducing animation to my illustration diploma students.
Source + CC under cut

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.
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never heard this explained as a "color boomerang." interesting way to think about it, and seems easier to grasp and remember that way.
good advice.
Rad Sechrist
Anatomy of the Back Top Image Row 2: Left (by Josh Reed), Right Row 3 Left, Middle, Right Row 4 Row 5: Left, Right Bottom Image: (Source Unknown)
How TV Cartoons Are Made - A (Mostly) Simplified Guide
When I was in school and wanted to work in animation, there was very little information about how cartoons are actually made. Even my professors at college knew very little about the industry as it is today. Iām sure it wouldāve been better to study somewhere in California (like CalArts) to be better informed about this stuff, but I didnāt have that opportunity.
Nowadays, many kids in school have a dream career that they donāt really know much about. Thereās a lot of missing bits of information and a lot of straight up lies that get circulated as fact as people try to scramble to put the pieces together on how cartoons for television are actually made.
Iāve been storyboarding for television for a while now, and there still arenāt clear resources for those wanting to get into the industry. I wanted to make the basics available to everyone, so hereās a quick rundown through the TV pipeline. Please note: all studios and productions are different. Even cartoons made within the same studio could have wildly different production guidelines. This is not a concrete explanation of how every cartoon is made; this is simply a generalized look at theĀ ātypicalā television pipeline.
**DISCLAIMER** All images in this post have been sourced from blogs, twitters, scribd and flickr pages are publicly available, and no internal studio materials have been used that have not been already published publicly online. This post is influenced heavily by my own individual experience, as well as friendsā.Ā
With that said, this might be a lengthy read, so letās go!
Keep reading

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
how to draw arms ? ?Ā
holy fuck
holy fuck is right⦠but⦠does it work with legs???
yes !!
but how much extend
^^^^^^^^^^
I NEARLY CHOKED
ENJFDFNFATFVFDF
finally. i can be accurate
This is too fucking great to not reblog
I give it MASCLES
BIG MACHO
š¤£š¤£
LMAOOOOOO
Okay but for anyone who legit wants to know how to calculate it correctly:
The elbow joint on average rests a couple inches higher than the navel, so if you measure how long the distance is from the middle of the shoulder to that point then you have the length of the upper and fore arms!
So if anyoneās wondering about legs too, the simplest rule of thumb is that the length from the top of the leg to the knee is equal to the distance between the top of the leg and the bottom of the pectorals:
And I wanna stress that when i sayĀ ātop of the legā iām not talking about the crotch (please donāt flag me tumblr itās an anatomical term) iām talking about the point where the femur connects to the pelvis, which is higher up on the hips:
Itās easier to see what Iām talking about in this photo of a man squatting:Ā
So yeah if you use that measurement when using this technique you should get fairly realistically proportioned legs:
But remember! messing with proportions is an important and fun part of character design! Know the rules first so you can then break them however you please!
HOW THE HELL DID I FIND THIS POST OMG
@heresshawnie you never did give me those female refs
Oof donāt follow this if you have a cartoon style
Do follow this if you have a cartoon style!!! Thereās literally no downside as an artist to having a solid understanding of human anatomy, because it allows you to make informed decisions when it comes to character design.Ā
Thereās a big difference between drawing a humanoid character in a very stylized way because you donāt know any other way to draw, and drawing a humanoid character in a very stylized way because itās an active decision youāve made. understanding how the human body works makes even suuuuuper stylized cartoon figures look way better because any anatomy rule you break is a deliberate choice on your part to make it look exactly how you want!
Every artist should understand the rules of anatomy, even if you then sayĀ āfuckĀ āemā and go off to draw people with noodle arms, because then you will be able to draw the best noodle arm people ever! instead of flying blind and just copying other peopleās styles because you donāt know how to do anything else.Ā
Iāve been getting a lot of asks lately about the brushes and textures I use in my work, so hereās a BIG FAT REFERENCE POST for those of you who were curious! Bear in mind that Iām really lazy and donāt know what half the settings do, so donāt be afraid to experiment to figure out what works best for you :>
BRUSHES
Pencil I use the pencil tool with SAIās native paper texture both for sketching and for applying opaque color with no blending. Lower opacities give it the feel of different pencil hardnesses, while full opacity makes it more like a palette knife, laying down hard-edged, heavy color for detail work or eventual blending with other brushes. Ink Pen Mostly made this because Iām lazy and I didnāt want to have to keep turning my textures off/opacity up when I wanted to ink something (even though I donāt do it very often), or lay down flat colors. I find the line quality to be much more crisp than Photoshop, and you can manually adjust in-program stabilization to help smooth out hand wobbles. Round Brush The plain olā brush tool acts as sort of an in-between for me in terms of brush flow. Itās heavier than my usual workhorse brush, for faster color application and rough blending, but not as heavy as the pencil tool, which has no blending at all. I like to use the canvas texture on this brush to help break up the unnatural smoothness that usually accompanies digital brushes, but it works just fine without. Flat Brush A brush tool set to flat bristle (try saving this bitmap file to your elemap folder if your version of SAI doesnāt have it) is by far my favorite to paint with. I donāt use any textures with it because I think the shape of the brush provides enough of that by itself. I use it for everything from rough washes to more refined shaping and polish. Itās just GREAT.
Watercolor Best used for smooth blending, washes, gradients, and smoky atmospheric effects. Cloud Basically a grittier version of the watercolor tool, because too much smoothness weird me out. Good for clouds and fog, as the name suggests, or just less boring gradient fills.
TEXTURE OVERLAY
To further stave off the artificially smooth look of digital painting, I almost always overlay some sort of paper texture, and itās almost always this one, which I scanned and edited myself. Youāre all welcome to use it, no permission required!
Using overlays in SAI is just as easy as using them in Photoshop. Just paste the texture into its own layer above everything you want it to apply to, and change the layer mode to Overlay. Thatās it!
Want a more prominent texture? Up the contrast. Something more subtle? Lower the contrast or reduce the layer opacity. You can also use a tinted overlay to adjust the overall palette and bring a little more color unity to an otherwise disparate piece! Just be aware that too much texture can hurt the readability of the work beneath it, so Iād err on the side of subtlety.
Hope that helps!
-L
Since making this post 500 years ago, Iāve gotten periodic questions about the Flat Bristle brush setting that is default on my version of SAI, but sometimes absent in others.
After much ado, Iāve rummaged around in my program folders and found an image in SAIās elemap folder calledĀ Flat Bristle.bmpĀ that you should be able to just grab and use! I edited this link into my original post as well, but itās gotten so many reblogs I donāt know how helpful that will end up beingā¦
In any case, Iāve also taken the liberty of zipping all of my blotmap, brushtex, elemap, and papertex folders and hosting the file on my site just in case whatever borked version of SAI people are encountering are missing all this basic stuff. Thereās not a lot in there, but the settings in the original post donāt make any sense if you donāt have them!
You can download the zip file here.
Happy painting!
IMPORTANT EDIT: In the event that dragging and dropping these files donāt do the trick, this site has pretty extensive instructions on installing SAI brush files.