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Note: this is only going to be a basic userbox tutorial describing my process; sometimes I may add little details to userboxes that will not be in this tutorial.
Also, don’t forget that this is far from the only way it can be done! This is just how I personally like to do it (so please don’t give me advice because I know there might be easier or faster ways but I like to do it this way ok? ok)
The app I’ll be using is Procreate, but I’m sure this process can be translated into just about any program!
⬇️⬇️ Tutorial below the cut ⬇️⬇️
❀ Step One ❀
Make a template! The dimensions I like to use are 910 x 185. I have one blank square where the image will go, and a blank rectangle where the text will go.
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:
Create a 3D logo with this text with a bubble-shaped font.
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!!
(also please let me know if you see any typos thanks)
could you do a tutorial on how you draw fatter people sometime?? your work is amazing and i’d love to learn from you!!
omg thank you so much, it's really cool that my art is that inspiring ksjhfedde
Okay so bare with me as this is baby's first tutorial and I'll try my best to explain my process!
Note: I'm focusing on AFAB bodies because that's where I feel like I'm most qualified in doing the tutorial :'D
And as I said in the images, since bodies and fat distribution are SO variable, this isn't all encompassing nor exhaustive, but the same logic applies for heavier builds or other areas you might want to not add as much!
Transcript for the images UTC as I had to crop and shrink them for legibility and max sizes
I know I left out quite a few things like stretch marks, but I normally paint them on, and I mostly wanted to focus this on shapes, so that'll be for a tutorial another day✨because this is looking like a novel LOL
At the end of the day, the above might be my way to draw fat, but the most important element that will help is to reference. Compile both irl photos and art illustrations to both show real bodies and what other artists you like go about it, and literally just fuck around until it clicks.
Here's my refboard as an example shrunk as the details are not relevant, but I think some posters are easily recognizable anyway LOL
Although it ultimately wasn't for me, Morpho: Fat and Skin Folds is also one of the biggest and most popular resources on the matter, so I can't NOT suggest it.
Also last but not least, these are the tutorials that helped me personally when I was first learning about it, so shout out to them: necronatural, pbjpawprints and paggiart (tw twitter)
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
Some clothes will have a compression effect and will significantly change the overall silhouette.
Latex suits, compression wear and shapewear in general will keep the broad strokes of torso's shape, but folds and bumps will be smoothed out, making them smaller or erased completely.
Corsets and stays on the other hand are much more stiff in shape and will force the belly and breasts to mold to them no matter what. This is where the blocking of Step 1 becomes useful, as the wider frame will determine the maximum "squeeze" the corset and stays will be able to give, while still keeping the plus-sized silhouette.
Hello, Tofu! If I am mistaken, then please ignore me, but I think you once said you were willing to make pixel art tutorials? If so, may I ask for one with clouds?
The way you draw landscapes is simply breathtaking, and I'd be lying if I said I didn't look up to you as a beginner pixel artist! I look at your art in awe and genuinely hope to one day make a piece as beautiful as yours ˆˆ
If you're not making any tutorials, then please ignore me, but do know that I love your art :-)
Have a nice day/evening/night!
wahh thank you!! i will think about it but honestly i dont think you need another tutorial other than the one jubilee @8pxl made here, this is basically the gold standard lol and most people including me just do her style ... if you want another style lmk!
but i did do some clouds studies years ago which i found quite valuable, if you really want to learn i think that can be a great place to start, and also learn more about all the different types!
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HEY!!! I just wanted to say I genuinely love your art so much ;w; The way you draw Spam is my absolute favourite rendition of him ever he's so cute,, is there any chance you could make a tutorial of sorts? :3
hi and ty!! i think it comes down to this shape and understanding it in 3d. With his features i don't stick to 3d that much (especially hair has the mickey mouse ears effect) so i often just reference others art when i see shapes that look good in certain perspectives but are not necessarily correct in 3d
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!
Let me know if you guys want any more tutorials like this!
If you like my latest mermay picture [cw for mild gore], lemme tell you how easy it was to do the coloring for it. I used 3 layers to make it from black and white to full color, using a correction layer called a Gradient Map. This will be for the program Clip Studio Paint, but there's equivalent functions across programs, you just gotta do some research about where your gradient map options are hiding
In CSP, you go to Layer > New Correction Layer > Gradient Map
and this is what a gradient map does when placed above a black and white drawing;
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'>
And everyone say thank you for @spooky-beanz for inspiring this tutorial!
Hi there! Huge huge fan of your art and style. Wondering if you’d give a rendering/coloring tutorial? Thank you so much! (:
thank you so much! I've been meaning to do this tutorial since so many people ask about it, so let's jump right in!
I'm not going to talk much about the definition of color/rendering, as I'm sure most of you have probably heard it all before from an art teacher or the internet. I'm also not going to give you a step-by-step tutorial, because it will do much more harm than good. We all draw differently: a decent tutorial should nurture that instead of trying to replace it!
When I talk about color and rendering, it will be through a functional sense. What are they for? How do you use them effectively?
The grass problem
A lot of artists like to view color as a static fact about the environment/character/object they are drawing. The grass is green, the rock is grey, the orange is orange etc... in these examples, color is just one way of describing the subject. Even if you argue some grass is yellow, you're still just telling me what it is! When we think about color like this, we limit ourselves a lot.
The truth about art is that grass does not have to be any color: we’re not ACTUALLY trying to make a 1:1 replica of real life (even when we are.)
(seen above: an illustration where the moon is green, Six-claws is 50 feet tall, and for some reason the sky is bright blue-purple at midnight)
in art, we try to illustrate what the human eye wants to see… and color is part of that. Color is a tool in which you can convey the emotions, tone or atmosphere of a piece. If you think about it like this, you’ll be more inclined to choose what works best with your composition instead of what you think is ‘real.’
How do I use it?
Here's an example of how I use color to tell you about my OC and beloved son Flicker.
I made this piece as the cover of his character doc - my main color scheme includes yellow, orange and red: which work together because they are all analogous.
Flicker's 'highlight' color (the one I use the least in his character design) is red, so all of the important information in this piece should also be red! This way, color is telling the viewer where to look and what is most significant about Flicker.
Color and Value are married
As much as color placement can direct the eye, it will ultimately bow to the power of value. (unless you're using two very high contrast colors, like bright red/blue.) Our eyes are much more accustomed to spotting value differences compared to color differences: this is because color is subjective, but value is not. A colorblind person still sees the same values as a non-colorblind person.
Because of this, it's important to consider value when you pick colors. Flicker's sweater being darker than his facial crest helps his sweater to stick out more. When I color, I like to frequently put my piece in greyscale so I can see if the values have enough contrast! You can easily do this by putting a saturation filter over your piece, which (I think) is a feature on most digital programs.
(To do this on procreate, take any grey you want and drop it on a blank layer above your art. toggle saturation, and boom!)
Next order of business: How you render?
Rendering is often regarded as the polish of any good art piece: a good render can take you from beginner to intermediate! However, a lot of artists see the open-ended nature of rendering as a little bit scary.
When I render, I am essentially trying to add the texture (and sometimes lighting) to the subjects in my piece. This also usually involves a lot of line cleanup for me, but a less-messy artist wouldn't have to worry about that.
You can render under or over your lineart layer: it's up to you! Just make sure you put it above any lighting filters you have.
Tips and Tricks
Ultimately, the way you render will be a natural product of your artistic style - instead of looking at chud tutorials like this one, you'll improve the most from doing real-life studies and experimenting with different brushes, strokes and techniques. Here are some things that helped me learn how I render!
Seriously, use different brushes. Textured brushes are the easiest way to make your piece look more detailed without having to put that much effort into them, which is a lifesaver if you don't want to spend 8 hours on one drawing!
I like to use smooth, firm brushes (like hard airbrush) for metal. For skin, I prefer more 'painterly' brushes - and I use a lot of grainy/weird shaped stuff for environments.
You can always add MORE lighting on top of your render! Sometimes, touching up bright spots with the airbrush is the finishing touch you need.
Zoom out frequently! Don't get lost in the details, especially if they don't matter/aren't even your focal point. You can usually get away with loosely rendering to add texture, and hyper-detailing everything tends to distract viewers from what matters.
If you want a good FREE procreate brushpack, I highly recommend the JJ exclusive brushpack! I have had these brushes since 2022 and they are seriously some of the best on the internet. Super versatile and easy for beginners to use! I still use the Acrylic JJ 1 for skin rendering to this day. Procreate also has some nice stuff built into the app: Ink bleed, salamanca and soft airbrush are a few favorites of mine.
In conclusion
I hope this tutorial was at least a little bit helpful, even if it turned out more like an assortment of different tips. At the very least, I have given you brushes. YAY!
color and rendering are difficult to learn… but not impossible! You got this!
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Hi! Since so many of you message me every day asking for eye-color prompts I’ve already made, I decided to put ALL my eye-prompts into one single post. From now on, every new eye-prompt I create will also be added here.
Feel free to reblog or save this post, so you always have the full collection at your fingertips.
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