going to participate in artfight for the first time with some of the ocs on my oc blog @bu88er,
no clue what I'm doing but here's to some good art?

if i look back, i am lost
Alisa U Zemlji Chuda
Xuebing Du
2025 on Tumblr: Trends That Defined the Year

Love Begins
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Not today Justin
dirt enthusiast

#extradirty
will byers stan first human second
Lint Roller? I Barely Know Her
art blog(derogatory)
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he wasn't even looking at me and he found me

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@ygoygo1
going to participate in artfight for the first time with some of the ocs on my oc blog @bu88er,
no clue what I'm doing but here's to some good art?

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I just think she’s neat
dissonance
quick r1999 flavoured animation
holy shit the finale

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loggerhead doodles, fishing edition
Out of Touch
Out of Touch Thursday
OUT OF TOUCH THURSDAY
but im out of my head when you’re not around…
happy birthday.
this is the only out of touch thursday you can reblog this
mirror mirror on the wall
shirahama's hatching process

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I accidentally stumbled on this cool dreamy filter trick with a hue layer and I wanted to share it with you guys!! 🥹 (explanation under the cut)
Video demo
^before and after
some more tests... hehe its so fun!!👀✨
EXPERIMENTED & SHARING SOME MORE COOL FILTERS/EFFECTS!!! under the cut 👀🌈💖✨
1) Alternative "brightness layer" method! this one was shown to me by someone on twitter.
- Create a layer above the original drawing filled with a saturated color, and set the layer mode to "brightness". Then, adjust to your liking! Done!
Out of curiosity, I tested and compared this method to my hue layer method, and the effect is in fact different!! as you can see below:
pics 1-2 = brightness layer method; pics 3-4 = hue layer method. I used the same pink color in both as a control. It also yields a pastel filter look, but it's different..!! A cooler, less saturated look.. still v cool
2) "Dreamy Hue Filter 2.0" This method expands on my hue filter method!! First, complete the steps of the hue filter method so you have your 3 layers ready (hue layer, og drawing, bg color)
- turn off original drawing layer so only the hue & background color layers remain, and merge visible to a new layer
- using that new layer, play around w diff layer modes!!! The possibilities are endless... Some examples below:
^new layer set to "overlay" (63%), og drawing at 100%
^new layer set to "pin light" (61%), og drawing at 100%
^combining the new layer with the original hue filter effect; layers in order from top to bottom:
- new layer (color burn): 89%
- hue layer: 100%
- original drawing layer (normal): 63%
- background color layer
^combining the new layer with the original hue filter effect; layers in order from top to bottom:
- new layer (PIN LIGHT): 38%
- hue layer: 100%
- original drawing layer (normal): 58%
- background color layer
^THIS ONE IS MY FAV TEST SO FAR... I ran out of image space to show the comparison (see here) but it makes the dreamy filter effect even more saturated... like a rainbow candy dreamy filter... it's so pretty I'm drooling 😭😭
I HOPE U GUYS FIND THIS INTERESTING AND ENJOY PLAYING AROUND!!!
update: someone kindly made it into a csp auto action set!!! 🥺
ONiON
b&w under the cut
Adobe is going to spy on your projects. This is insane.
For general graphics: use GIMP For vector graphics: use Inkscape For drawing and illustration: use Krita For print and web publishing and design: use Penpot For PDF authoring: use LibreOffice For PDF reading and form filling: use Okular
All are free, open source and cross-platform. None use AI.
Reblog for everyone
friends don't let friends use GIMP. use photopea
Gonna pop my favorite reference for Adobe alternatives here, lovingly compiled and updated by xDanielArt since at least 2020:
lord reblogging on main bcz fuck adobe (PROUD csp user)
I SWITCHED TO LINUX A WHILE BACK
ITS WORTH THE LEARNING CURVE
Know what I’m salty about?
In all my art classes, I was never taught HOW to use the various tools of art.
Like yes, form, and shape and space and color theory and figure drawing is important, but so is KNOWING what different tools do.
I’m 29 and I JUST learned this past month that India Ink is fucking waterproof when it dries. Why is this important? Because I can line something in India Ink and then go over it with watercolors. And that has CHANGED the ENTIRE way I art and the ease I can create with.
tldr: Art Teachers: teach your students what different tools do. PLEASE.
WAIT INDIA INK JS WATERPROOF ONCE IT DRIES????? THE ENTIRE REASON IVE AVOIDED MARKERS MY ENTIRE LIFE IS BECAUSE JNK BLEEDS AND YOURE TELLING ME INDIA INK IS
F U C K I N G W A T E R P R O O F
yall calligraphers out there this is extremely fuckin important if u wanna get into illumination shenanigans because i swear to you there will b discoveries like these^
heres some of mine, pls take with a grain of salt im a total gotdamn amateur:
a lot of the time, the ability for colored ink to bleed will vary wildly WITHIN A SINGLE BRAND OF COLORED INKS. my cobalts bleed like fucking CRAZY compared to my reds, which, when u reference manuscripts that tend to put white ink ON TOP of either red or blue… you see where shit gets real and real annoying.
u can buy an aeresol, fully transparent workable sealant for like 5-10 dollars at your local art store. when i realize a piece ive been working on needs a color on TOP of a bleed happy ink, i give it a layer of this stuff. trouble is it CAN warp the paper so its important as soon as it dries to use heavy things (paperweights, books) to counteract the paper curling.
ink solvent, like koh i noor’s rapido-eeze, is only compatible with SOME inks, but will work on most acrylics. If you happen to be working with sturdy vellum that you have pre-sealed, it can be possible to literally use ink solvent to wipe away your calligraphy mistake like a goddamn bounty commercial
Shit I Learned Working At Dick Blick:
WD40, found at your local hardware store, will remove Sharpie marker from almost any hard surface.
Acrylic inks will show brush strokes in large areas but are waterproof and quick-drying.
Acrylic gouache is vivid, fluid, dried matte, is UTTERLY opaque on black paper, handles exactly like watercolor, and is waterproof.
Putting an oil painting in the sun will turn the yellowed portions back to their original white and wont hurt the painting.
Cheap acrylic paintings will bleach out if left in the sun - get UV protectant spray or varnish. Nicer acrylic paints are less prone to sun bleaching, but they still do. Plan accordingly. Oil paints are much less prone to this.
Solvent-based markers blend together MUSH MORE SMOOTHLY than alcohol-based markers.
There is an acrylic paint medium for literally every effect you can conceivably think of (fabric paint medium, gloss medium, fluid medium, sand medium, fast-dying/slow-drying medium, etc.).
If you’re going to buy student-grade paint to save cash, buy earth-tones (burnt sienna, ochre, etc.); they are made with cheap pigments already, and you wont tell a difference. You WILL tell a difference between student-grade and artist-grade bright colors (all yellows, blues, and reds).
If you’re working with markers but aren’t using marker paper, you need to switch. Markers don’t blend on printer paper, they just layer (even expensive markers).
If you want a glass palette for paint mixing but don’t want to shell out the cash, buy a giant picture frame at Goodwill, take the glass out, and electrical tape it to a piece of foam board the same size for stability.
Hog bristle brushes are for oil paint, sable brushes are for watercolor, and synthetic brushes are for acrylic and oil (but not watercolor because synthetic bristles can’t absorb water).
If you’re going to splurge on any aspect of your creation, splurge on the paper. Get the good stuff - crappy markers/paint/pencils look good on good paper, but not the other way around. (There is more, but these are the big ticket items)
Some more, also from working at Dick Blick:
- Palette knives are for mixing paint and TRUST ME you want to learn how to use them. When you mix with your brush you loose paint and it’s hard in your brushes.
- DO NOT FIX YOUR ARTWORK WITH HAIRSPRAY. If you’re proud of your work and want to keep it, buy the actual spray fix. Hairspray is not archival in the slightest and will damage your work.
- On top of that, be careful how you store your work. Newsprint is handy and cheap, but also not acid-free and it will yellow your paper. Foamboard? Matboard? Also not always acid-free (but you can get them acid-free).
- There is no food-safe paint. Period. There are lots of ways you can decorate pottery that aren’t glazes, but only glazes are food safe (and even some of those aren’t).
- Also not food safe: Polymer clay (sculpey), air dry clay, oil-based clay, ceramics that have not been glaze fired, oil pastels, sharpie, glues of any kind, or mod podge (even the ‘dishwasher safe’ kind).
- Don’t even get me started on mod podge. It’s not consistent. It’s not archival. It’s not a sealant, it’s a glue (setting aside some of the weird hyper-specific ones they make that I’ve literally never seen in real life).
- If your glue isn’t archival or at least acid-free, don’t use it in your artwork.
- There are so many different kinds of paper out there, just go try them. But also make sure you know if it’s acid-free or not (it probably is).
- Marker paper is usually 15 to 20 lbs. News print is usually 30 to 35 lbs. Tracing paper is usually 25 lbs. Rice paper can range from 20 to 50 lbs. Printer paper is 20 lbs. Vellum paper is usually 48 to 55 lbs. Sketchbook paper is usually 50 to 60 lbs. Drawing paper is usually 70 to 80 lbs. Cardstock can range from 50 to 110 lbs. Charcoal paper is usually 50 to 65 lbs. Pastel paper can range from 70 lbs to board. Bristol paper can range from 50 lbs to board. Mixed media paper can range from 90 to 140 lbs. Printmaking paper can range from lbs 90 to 300 lbs. Watercolor paper can range from 90 to 500 lbs.
- The heavier and rougher the paper is, the more it will absorb. If you’re using a paper too smooth for your medium it will take forever to dry and may smudge. If you’re using a paper too light for your medium, it will warp and curl.
- If you’re working heavily with water, you need to stretch your paper (aka seal down your edges of the paper to a hard, water resistant surface). If you don’t like doing that because it’s a hassle, buy a watercolor block instead of a pad/individual peices.
- If you’re working on a thicker paper, and make a mistake that your can’t erase or cover- you can scrape and/or cut it out! With a really sharp exacto knife, you can very CAREFULLY remove the top layer of paper fibers on most paper.
- DO NOT USE ACRYLIC AS BODY PAINT. It’s plastic.
- If you paint with oil, buy a silicoil jar. It’s the best $10 you’ve ever spent.
- Acrylic paint is basically water-based plastic. It will basically fuse with anything plastic (like a plastic palette), and will not stick to anything oil-based.
- Acrylic paint and house paint are not the same thing and you cannot mix them together. Acrylic paint is made from a water-based acrylic polymer, and house paint is almost always latex and can come both water-soluable and not.
@pamelab has this amazing reference crossed your dash yet?
wondered what loggerhead might look like with her hair down
full body under the 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.
Free to watch • No registration required • HD streaming
lathams
ok I DO have ONE hot tip.
So. You're like me. You have ideas and you want to see characters move around in sync with some audio. But also you need to cut as many corners as possible. BUT ALSO you really want it to feel good to watch to justify the effort.
My tip is this: use tweens but as few as humanly possible.
To explain: so we got these key poses we wanna use while somebody says something
That's 3 drawings!
If you draw out a whole scene at this rate, you'll get the point across! This totally works! You can have all kinds of cool poses and expressions and it will still be an unreasonably large number of drawings, and an impressive feat to finish!
BUT since we're already here....why not trick everyone into thinking it's "smooth" by making THEIR brain do HALF the work, at LEAST.
^ That right there is only 3 additional drawings!
Tween Type 1: bridging the gap
so the difference between these 2 frames is huge, and as a consequence playing one right after the other feels choppy.
Now I haven't explained the second kind of tween yet, but the way we decide between them is by asking ourselves, "how controlled is this movement, and where is it fastest?"
This guy is unfolding their arms and then placing a hand on their hip. This is a more controlled motion, because the limb stays close to the body at all times, where there's not much room to swing around.
Also, if you do this in real life to test it, the two slowest parts are separating your arms at the beginning, and then resting your arm on your hip. Between those two parts, it's mostly just your arm swinging into place relatively fast.
The fastest part will be easier for your brain to fill in for us, so the tweens are only added to the slow parts.
The arm starting to unfold, and the arm slowing down to rest on the hip.
The second screenshot, depicting the "end" of the movement, is overlaid onto the NEXT frame rather than the previous, because it will need to look very close to that for your brain to process the new pose properly.
These 2 new drawings have created just enough of a bridge for your brain to register it as a movement rather than two separate images.
Tween Type 2: overshooting
This kind of tween is used for faster, less controlled movements, or anything that "squishes." Here I use it for the guy bringing his arm up, and his eyebrow moving.
Once again overlaid onto the frame AFTER this tween, so you can see the "overshoot" effect.
Since the arm is out in the open air, it will swing with the momentum it took to raise it, and the guy's musclea will need to squeeze it back into the place they intended to hold it at. So it moves past the final resting pose (overshoots it), because it is too fast to slow down before it.
Overshoot is kind of the opposite of bridging the gap. Where bridging the gap shows you something starting to move, and then slowing down; overshoot shows you something winding up (omitted for this chill guy, but it's a frame "pulling back" on the pre-movement pose where the frame I did add is "pushing" on the post-movement pose), and then struggling to come to a complete stop.
But just like bridging the gap, you don't have to draw he middle because the movement is fast, so your brain wouldn't have paid attention to it anyways.
So yeah thats how I play tricks on people's minds without REALLY animating! Go nuts!
Since the tweens are onscreen for much shorter times, don't be afraid to let them be messy, so that you can try out a few different variations to see which looks right. I redrew that arm coming to rest on the guys hip 2 or 3 times, and it was originally supposed to be an overshoot, but the bridge ended up looking better!
theres actually a name for this! this is actually not tweening, this is the step before — the breakdown phase!
Breakdowns are the between frame between two keyframes. Depending on how much you favour one frame or another, you’ll change the feeling of the animation when you inbetween further.
it’s an important step that defines the feeling of the motion!
Anyway I shan’t say much more than this since you’ve already given some great examples of different ways to approach a breakdown, but this is a nice video on the topic if you want to learn more: