Types of High Heels.
- draw from life
- draw from life
- draw from life
- if you draw using only other art as reference your art will end up looking twice removed from life in a bad way
- why do you think those lion king artists always have it look slightly off but it looks good in the lion king
- BEACUSE THE PEOPLE WHO DID THE MOVIE DREW FROM LIFE
- DRAW FROM LIFE
- EVEN IF YOU’RE STYLIZING DRAW FROM LIFE
Always seek critique from others and invite others to comment on your art, remember one learn more from one negative comment than a thousand praises!
you dont have to accept crit if you don’t want to
Thats why it fits with the other artist tips that some people still fail to take.
saying “draw from life’ completely rules out the exaggeration of anatomy, or anything at all.
it should say
“If drawing a humanoid, make an attempt to use vague humanoid anatomy.”:
no it doesn’t. Drawing from life is how you learn how do do humanoid anatomy believably and thats what gives you the tools to exaggerate what you want while still making the character and environment believable
recently i had to make a dog walk for a class, and since i have a schnauzer i decided to draw one of those, stylized so i could animate it in a timely manner and keep it visually appealing
this is me trying to draw it stylized from memory:
it didn’t look like my dog. I wanted to make it look prim and proper by having its neck all the way up, but instead it didn’t look like the animal i wanted it to
so I quick grabbed a reference, and it looks totally way more like a dog. sure, the anatomy is a little bit more stiff and the proportions are less exaggerated, but this is more closely to what i want. I noticed the way the neck is in relation to the head and how that spine would take it, so that’s why my non-reference one looked so weird- dogs cant move their necks like that! So, now that i have the knowledge of how a dog works from working from life i can make the animal i want
now here’s the animal i wanted to create. the neck still isn’t exact to anatomy but resembles it enough so it reads like a dog, but i could still make it snooty by tilting the head up because thats what the animal is able to do. I’m not the best artist but look at how much i improved by drawing from an actual animal rather than memory/a drawing of an animal.
thats why you should draw from life, even if you want incredibly stylized drawings. it gives you the tools to make what you want because you know how it should work, and that’s when you can start changing everything.
you have to know the rules to be able to break them etc. stylization is a procedural concept, you have to UNDERSTAND WHAT IT IS YOU ARE STYLIZING to successfully communicate that in the first place!!!!!!!!!!!!!!! if you dont know what the fuck a person or a dog or whatever the hell it is that you’re drawing actually looks like, how the hell are you going to successfully exaggerate its attributes
every divergence you make from a naturalistic standard has to be purposeful and you have to know what those divergences mean aesthetically and symbolically. it is not enough to see an artist do something you think is cool and rote copy his finished product. you have to analyze the method, analyze the source, and analyze the reasons why the artist emphasized what he did. if you don’t know what the real subject looks like you cant understand it, you cant reproduce those alterations in appropriate context because you dont have the necessary knowledge to subtract the starting point and dissect and deconstruct the purpose of the art piece and its stylistic liberties
copying without understanding is useless and at best will allow you to create hollow facsimiles of the art you wish you could make. imagination without understanding is haphazard guesswork that will do nothing more than illustrate your own shortcomings, and a fallacy — there is nothing that we do that is drawn “from the mind” like out of zeus’s fucking forehead, we do not conjure imagery out of nothing, “unreferenced” art still calls upon years of muscle memory built off prior observation of what we have seen, laced with imperfection of misremembrance and also shitty anime tutorials we all read on deviantart when we were 13 that taught us bad habits and attitudes like “”“”“”“”“”saying “draw from life” completely rules out the exaggeration of anatomy”“”“”“”“”“
understanding how to do many things, even and especially the things that are boring or ordinary or mundane, is what will give you the proper breadth of knowledge necessary to contrast stylization against its naturalistic inspiration and create art that is purposeful and comprehensive and above all not fucking shitty
go outside and draw a fucking rock
Hi! I came across this really really useful posts on DeviantArt. I thought I could post it here. It was taken from THIS posts (I pretty much copied and pasted everything, so PLEASE go there if you want to see the original posts. I don’t own it, it’s not mine). It’s a really useful posts when it comes to know more about the amazing tool Paint Tool SAI and the things you can do with it.
SAI Tutorial Part 1 and Part 2 by Spoonzmeister
Paint Tool SAI tutorial by dragonchickaya
Paint Tool SAI Tutorial 2 by dragonchickaya
PAINT TOOL SAI TUTORIAL 1 by xxlilevilangelxx
Tutorial - Paint Tool SAI by Salacia-Mao
Sai Tutorial by Val4s
Paint Tool SAI - Tutorial by Lelia
Paint Tool SAI Tutorial by kioisrad
-How to start a new drawing in SAI, plus a short rundown of the different brushes.
Paint Tool SAI Tutorial 2 by kioisrad
tutorial paint tool sai by Hamabi
SAI Paint Tool - Tutorial by LaFatalite
Line Art tutorial in SAI by himiko
SAI Tutorial: Vector Line Art by SakuraChan776
Sai Tutorial: Masking by SakuraChan776
Paint Tool SAI: Line Tutorial by Infitima
Coloring Tutorial by sakimichan
Lineart and SAI tutorial by suzuran
Basic Coloring Tutorial SAI by e-nat
tutorial, part 1 - hair and tutorial, part 2 - skin by tanukitchokes
Paint Tool SAI quick tutorial: How to Shade by KoiFishSushi
Wave’s Coloring Tutorial by suzuran
SAI Paint Tool Tutorial:: 1 Line Art by ClassyPirate
SAI Paint tool tutorial:: 2 by ClassyPirate
SAI Paint Tool - Tutorial 2 by LaFatalite
SAI Simple Color Tutorial by masquevale
Eye Colouring Tutorial? by Fushi-Chou
Semirealistic Eye Tutorial by yuumei
Hair Tutorial SAI by Niaro
Hair tutorial- Paint Tool SAI by merki-the-vampire
Paint Tool SAI Tutorial Part 1 and Part 2 by Rueme
Lineart Tutoral for SAI by Rueme
Lineless CG Tutorial: HAIR by Rueme
Kimi’s Paint Tool SAI Tutorial Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8, Part 9, by kimicatdemon
broadfields asked you: Could you possibly do a mouth tutorial? Unless you’ve already done so. In that case, possibly pointing me in the right direction? :]
I wash my hands of this. It’s evidence of my piss-poor design skills.
Ok I was recently reminded that this exists (i-I think someone DA-famous linked it or something because WHAT) and I think this may be relevant to tumblr’s interests so here’s my~female body variation tutorial~ whoo~
This came from some things I scribbled down when I was trying to keep my character designs consistent, and I realised that it kinda made me see bodies/proportions somewhat differently so I pasted it into this smarmy old tutorial, now cut up into (I hope) tumblr-friendly chunks so right-click for full size I think? (disclaimer: I don’t know anything and it is so far past my bedtime that it’s been tomorrow for a whole day so I’m going to nap and then maybe regret posting this.)
Ummm… I usually just go for it? I don’t plan out that whole draw-the-palm-as-a-circle then draw-lines-for-the-fingers chart thing…
When I visualize the hand, I pay attention to these lines.
and the rest is just whatever— I’m mostly aiming to make nice pretty lines—because look at them, those are some sweet curves. This is basically my process: (gif)
I purposefully try not to really concentrate on it too much. The stress isn’t worth it at all.
And it’s so much easier to come back to it later to fix up anatomy mistakes of even out the finger widths, etc. (if you’re into that sort of thing hoohoo.)
Regarding the first image, the way I draw the hip area and legs in general is pretty exaggerated, I remove a lot of muscle and curve the bones. The left of each set is more correct if you’re aiming to be more realistic.
The second image is just how I personally stretch legs into different body types. The third is one of my most generic poses and some feet. I approach the bottoms of the feet the same way I do hands and I make toes by just overlapping the little circles. The fourth image features some attempts at different positions I don’t show as much, an area I still have to work on myself.
I’ve still yet to recover from my recent lethargy, so this was all I could think to do… but I hope this is of at least some use! Sorry! :(
‘Kiss Scene rough sketches - Drawing for Boys Love (Yaoi)‘ A 103 page book/CD rom with male/male kissing scenes, from many different angles, for artist drawing references.
Today I gave my students a quick presentation on some of the basic considerations for composition, which I am now sharing with you! I’ve given them separate talks about color and tonal value/contrast, which are also super important compositional concerns. (I’ll be sharing those presentations too once I properly format them)
I personally love learning about different compositional techniques. It’s fun to think about the ways that the brain views & sorts images, and how we can trick it into feeling a certain way or looking at certain aspects of an image first! It’s easy to fall into compositional ruts (which I am also guilty of) because a lot of art gets by with mediocre, though serviceable, compositions. If you can generally understand what’s happening in an image then it’s generally fine. However, it’s the truly great compositions, where everything in the whole image has been considered and ‘clicks’ together, that bump up an illustration to a visual slam dunk. NC Wyeth is one of my favorite artists for this reason: his compositions are rock solid, varied based on the image’s intent, and always enhance the mood or action he is depicting.
For extra reading, some online compositional resources that I’ve found helpful or interesting include:
Creative Illustration by Andrew Loomis (download it for FREE. Such a great book all-around.)
Gurney Journey (check out the “Composition” tag, but really everything he posts is great)
The Schweitzer guide to spotting tangents
Cinemosaic (a blog by Lou Romano with some truly WONDERFUL compositions captured from various films)
Where to Put the Cow by Anita Griffin
We’ve all seen the rule of thirds, but these have additional tips that are extremely helpful.