A personal reference storage area

it kinda assumes purple text white background. but you can replace the colours as you want

the second column is referring to bananagrams. which is kinda like scrabble. anyways i'm gonna be doubling that quantity so i have a bunch to use. so!

that would need:

one full chest of white wool (27 stacks) (1728)

64+54 white dye (118)

64+20 red dye (84)

64+20 blue dye (84)

18 logs (for sticks)

dye 180 (2 stacks and 52) of the wool purple

make 30 (16+14) purple banners

make 258 (16x16 + 2) white banners

follow steps above

ye 👍

feel free to use for whatever that's why i'm sharing it. just if anyone asks direct them here :)

This is about the size I like to have them. You can save this template as a separate canvas so you’ll always have a blank!

❀ Step Two ❀

Make some text to put in your userbox! This is the font website I like to use:

Remember to be mindful of line length, as the text needs to fit comfortably in the userbox!

Example text:

The website will try to make you pay or sign in to download the text but you can literally just screenshot it and isolate the text on your own either with a background remover or the selection tool on your program lolol don’t give them any money

❀ Step Three ❀

Find the image you want to use! Be mindful of the size of the image and maybe consider cropping it to just the most important part, as putting it in a small canvas can seriously knock down the quality.

For the purpose of this demonstration, I’ll be using this image:

I’m then going to take this image, put it in the canvas, and turn it into a clipping mask over the square of the userbox.

I usually merge these layers to reduce cluttering but it doesn’t really matter.

❀ Step Four ❀

Color fill the text box and background! This is pretty simple, I just usually try to pick colors that not only match the image but contrast enough for the text to be easily readable, as I like the text and background color to be the same.

❀ Step Five ❀

Add the text! I usually color it by just alpha locking and then filling the layer.

Make sure it’s centered in the text box; I suggest turning on snapping in your program if possible to ensure this!

And you’re done! Congratulations, you just made a userbox!

Hopefully this is helpful, feel free to ask me any questions and thank you for reading!!

How to draw fatter people (my way) PART 1

Disclaimer: Fat is incredibly variable as it depends heavily on genetics, so the way fat is shown for one person wouldn't be the same way it'll be shown on another, so feel free to mix and match anything in this tut lol

1) Boring Time (Theory)

I know, I knowwww. But before showing my way of doing it, I want to explain the logic beneath it so that you all get it. In general, I would say that there are 3 main things to take into account when drawing fat:

1.a) Fat Distribution Not all parts accumulate fat equally, but you do have your usual suspects. Fat appears in stages: the areas in pink (breasts, belly/lower torso, thighs, upper arms and neck) will be the first ones to accumulate, and the areas in grey will generally start accumulating in higher stages of obesity. Feel free to mix and match the intensity of each pink area as that should cover most fat body types!

1.b) Fat and Gravity Fat is soft, malleable, and affected by gravity, so it's going to naturally get pulled down. Generally, a rounder belly like Fig.1 indicates bloating and/or pregnancy. Note: Although some people can look like this, it's a rarer occurrence based on my own research.

When sitting, fat will press with itself and mold on flatter surfaces (highlighted in pink). From my observations, the belly is the part that changes the least in shape, but will look larger sitting compared to standing.

1.c) Skeleton Okay I'm gonna be honest, this part is more like a gripe I see often so it's kinda self indulgent. While fat is malleable, the skeleton itself remains unchanged. The spine doesn't magically extend to accommodate more belly, nor does the head become smaller the bigger they get. People get wider, not taller.

How to draw fatter people (my way) PART 2

2) How I draw it

With the theory (hopefully) clear, here's how I go about it to draw ✨fat people✨.

1) The blocks. There are two ways to go about it. You can either do the skeleton and then add fat, or do what I do and adjust the "blocks" to be wider depending on how fat you want your character to be. At this stage focus on the general shape: you want to get the pose right, so ignore belly and boobs for now.

2) The fat sketch. After you're satisfied with the pose, add the fat to the frame. Here I opted for a more even fat distribution in an hourglass frame.

3.a) Refining This is where I refine and solidify the shape of each part and the level of folds and shapes becomes highly dependent of the type of outfit of the final drawing.

3.b)Clothes For this example, I opted for a tight dress, but there are quite a few factors to watch out for as some can significantly alter the shape of the body (see below).

Extra notes in the doodles:

Erase part of the jaw to remove definition!

The hip dip is caused by the pelvis' shape, hence the squiggly shape!

The line on the midpoint of the belly helps connect the belly button to its proper spot; these two sections are also the basis to the double belly (see below)

Arm fat, due to gravity, tends to be more pronounced on the inner part, but it's mostly highly dependent on the arm position. Rule of thumb: the side that is lowest gets the fat

If drawing nips, they point downwards due to size and gravity

If the belly hangs, I like adding a double crease: one for the belly, one for the thighs.

You can have fat accumulate right before the wrist and have small dimples in the hand, but I am forgetful and keeps forgetting to add them lol

The collarbone gets more simplified the heavier the character

The belly becomes a tension point so no clothes folds in the middle

2.b) Variants

The B-belly/Double Belly The big thing with B-bellies is the more obvious "seam" that splits the belly in half. This is fully genetic and not the result of too tight clothes!

The Double Chin There are two main ways to depict the double chin in a ¾ view and it basically boils down with how much you want to add. The main difference is that Fig.2 has an undefined, rounder jaw.

Muscle Fat Fat is placed on top of the muscles, so the silhouette depends on the muscled body instead. Muscles are shown but are less defined due to fat smoothing out everything.

3) Clothes and Compression

My first tutorial! I’ve gotten a lot of requests to explain how I approach coloring the long form comics I’ve done, so I figured this would help explain some things. I do this process entirely in Procreate, but this can really be done in any art program.

One thing about this process is it’s largely flexible based on how much time and effort you want to put into your comic. I’ll often reserve my energy for the most important pages, and keep ‘incidental’ pages simpler, often only applying the gradient map and highlight layer. You can also go further in detail than shown in this tutorial. Maybe you want another shadow layer for deeper darks, or maybe you want to apply a bit of local color to everything- it’s all up to how YOU want to work!

It's a process that sounds complicated but is actually super easy to learn and exploit; gradient maps take a specific value (black to white and all the greys in the middle) and assign it a color. By adjusting where those lil ^ arrows sit on the gradient, you change which value is assigned that color, thus changing what part of your drawing is that color.

all the gradient maps I used are community made presets I downloaded for free using the CSP community asset portal

now pair that with layer masks, and you can isolate where on the picture the gradient map is in effect. Below is the gradient map that's Just the red for the couch, a few character accents, and the tail;

above in the orange is the layer mask button as well as where it is displayed on your layer (in CSP) once you apply it. When you want to change your layer mask, you click that second square on your layer; with that selected, you now can control what part of that layer is being shown without actually changing whats on that layer.

With the layer mask selected, you can erase whats there, then go over it with a brush or a selection tool and add it back as if it was never erased at all. The positive parts (what is visible on the picture) are displayed in white, the negative parts (what's been erased) are displayed in black. Obviously you Have to make sure you're interacting with the layer mask and not the layer itself (the layer itself is selected in the screen cap above, that's why it has that in-program white outline) or you really will just erase shit you can only get back by hitting 'undo'.

then you can add more gradient maps above or below the first one, depending on what looks best;

this is the bottom most gradient map layer arranged in my folder of gradient maps, because I wanted this orange as the foundation of the pic, the rest building off it.

the last gradient map layer is smushed between the red and the orange, and this is how I got those blue shadows and tail accents.

there is a Single value assigned that blue, but the gradient aspect allows it to be more versatile, and the browns making up the majority of the gradient help it feel like an extension of the orange layer. It's important to make sure your gradients harmonize like that otherwise it becomes more obvious they are two separate gradients interacting rather than the illusion of a more complex, selective color palette. While you can get a lot of depth out of a single gradient map, when you layer them, you're able to easily add shading, quickly change the color of a specific part of the picture and overall just cheat your way to a very cohesive, intricately colored picture with WAY less effort and color picking on your part.

taking this;

and turning it into this;

with 3 layers 8'>