Let's Art

rubitrightintomyeyes:

chocolatebearturk:

rubitrightintomyeyes:

No I am not interested in how to apply blush.

No I am not interested in how to draw cross hatches across an anime character’s face.

I just want to see the different natural blush patterns people can have and how to color them.

Okay well I don’t know how to color blush patterns but I know of a few from having a pretty diversely blushing family and from looking into it so I wasn’t always writing about blushing ears.

This is how most people tend to talk about Wheatley blushing, down his neck and at the tips of his ears. I added across the bridge of his nose because I’ve seen a lot of people blush there as well as on the ears. These are just the spots where the blush is most concentrated—almost always the rest of the face goes slightly pink and there’s a bit of concentration on the cheeks as well.

I’ve got an uncle like this who blushes along his hairline. It’s started recending recently and you can tell that his whole head tends to turn red. It includes his ears and sometimes his neck.

This is the more common blush and the way most women in my family tend to color. It’s on the high spots of the cheeks and in some cases (at least in my family) is accompanied by redness under the chin.

My dad blushes from the neck up, which tends to make him look more angry than embarrassed. It climbs up to his jawline and sometimes to his ears.

I blush all over my face. It starts out blotchy on my cheeks and forehead, but pretty quickly just encompasses my entire face. It’s fairly embarrassing.

Does this help at all?

WOW PERFECT, THANK YOU!  Seriously, all I could find were makeup tips and stylized anime expressions!  This is exactly what I needed!

Semi-realistic Eye tutorial. Hope you guys find it useful ^^

(via meirz)

kingcheddarxvii:

A comic about being happy for those who grow into their talents faster than you did

Don’t be petty, it’s not a competition

But it’s okay to weep a little on the inside, that’s cool

(via i-might-rap-like-an-english-chap)

kimbbearrrrrrrr:

buttbear:

roocharffer:

cryptovolans:

buttbear:

Do you think there is such a thing as being born with a talent or ‘natural ability’ for art, music, etcetc?

Read More

Really really well said. I agree completely.
 

same here - I hate it when people say someone has a “gift” as though they didn’t put any work or effort into a skill

Whenever people describe something like that as a ‘gift’ my kneejerk reaction is to be offended? Obviously they mean it as a compliment, and I always take it as such, but I think ‘gift’ is a terrible term because I mean

nobody just gave this to me, I had to fight for twenty years to get to where I am now! My art is the result of my own determination to improve and keep drawing and seek out people to HELP me improve, you can’t just suddenly obtain a skill, it’s not something you can just buy at the checkout line

i donnt really have anything to add but i agree! its really frustrating when people dont realize how much WORK art takes

(via ankh-the-odd)

dbsharpy:

welovetemplates:

How to make templates! Some information on Tumblr photosets.

Perfect for Tumblr development, actually.

(via whaoanon)

jeffstokely:

Solid advice for any writer, found on a middle school bulletin board.

Via Vladimir Verano

(via solarillustrator)

bigbigtruck:

derxder asked: Hi, EK. I’ve been a fan of your work for awhile now and I was wondering if you could maybe pass along some tips? I realized, recently, that I have a horrible case of same-face (when all my characters…well, have the same face. The only identifying factors about them are their hair/clothes etc) when drawing. Do you have any tips or resources that might help me break out of this habit and make my characters look unique from one another?

The main way I distinguish faces and bodies from one another is to think about the shape of the features, their placement in relation to each other, and the basic structure of the face and body. For other factors, it’s more about the life that character lives.

Recently I needed a few characters to pop into the background of a scene for about 10 pages. They all needed to have lives outside that scene, and they all needed to look distinct from one another. So the process was something like:

- okay, what do I need here, two waitresses, a line cook, and three high school dudes

- let’s start with the line cook, who is he

- hmmm let’s say late 40s early 50s, black dude, about 5’11”, solid build that was once fit but is sort of going to flab [very basic appearance]

- okay what are his facial features going to be like, let’s see, hmm, square jaw, overall squarish face with prominent cheekbones, let’s make him bald, prominent caliper lines but other wrinkles less pronounced. Soft, round eyes that would look sort of puppy-doggish but he’s grumpy a lot, thin eyebrows, short-ish neck. [distinguishing facial features - you have literally infinite possible combos here. Droopy eyes? Wide set? Narrow? Long nose? Short? Turned up? Down? Lips full? Thin? GO WILD.]

- so how do all these features relate to each other, hmm, let’s make the eyes a little wide-set, not set too deep in the sockets, nose sort of high, chin doesn’t stick out a lot, so it’s about in line with the base of the nose, mouth a little narrow, which leaves room for definition of jaw muscles (hey that works with the grumpy thing) [placing facial features in relation to each other]

Now here’s the really fun part: who is this guy and why does he live in the space that he is in. How has he come to occupy this scene.

- Okay, let’s figure out what he likes, hmm, let’s say… metalworking. Sure, what the hell. Metalworking and… uh, boats. Okay. So. Dude used to be a welder, union man, loved his job, but got laid off at the start of the downturn as manufacturing moved overseas. Married? Nah, divorced. Keeps in touch with his daughter. Just one kid. She’s 13. He feels stuck in this town, is working as a line cook just to make ends meet. Doesn’t like it much but it’ll do for now. What’s he do when he’s not at work? Hmm, hmm, okay, maybe he works on something in his garage OH! HEY! How about a boat. He works on his own boat. Nothing too fancy. Motorized, small boat. It’s his baby. Loves taking it out on the water.

Okay, he goes out boating a lot, that means he’s gonna have some wind chapping on his cheeks and forehead, let’s work that in. Also means he’s gonna have strong arms, shoulders, and back, so let’s keep the bulk and muscle definition there. Getting into his 50s, no beer gut (let’s just say he doesn’t drink beer), but he’s got kind of a spare tire. Doesn’t go running or play sports, he’s got kind of a bum knee. [A character’s life and habits will affect their appearance]

Okay, dude’s feeling frustrated in life but has an outlet, still he’s not thrilled to be working in Waffle House that night, so that’s going to affect how he moves in the room, what expression he wears, how (if) he interacts with the other characters. Is he lost in thought, or desperate for conversation? Does he like his coworkers, or resent them? How does he move as he cooks? Heavily? Efficiently? With flourishes, or like a robot? When TJ and Amal appear, how does he react to them? Interested, aggravated, or just doesn’t care? [All of these factors are going to affect his posture, gestures, and motion in the scene.]

Ahhh sorry I got a little carried away there, but this stuff is SO MUCH FUN to do. Maybe it’s a waste of time, but I can honestly say it’s never made a character *worse* than they would be without it.

So tl;dr: I guess just think about the structure of your character’s body and face, how they’re built, what activities they do, how they move and why, how they dress, etc. etc. Hope this GIANT PILE OF WORDS helped at least a little bit :U

dredsina:

simonist:

Forest Interior tutorial by dpaint

Here is a way to organize the complex information of an interior forest. This will work no matter what your rendering style happens to be. Whether you are an impressionist painter like me or a realist, the basic building blocks for the picture are the same the only difference is how far you want to carry the finish. This photoshop demo is based on a traditional painting I did a while back.

The challenge is to arrange the information to give you the illusion of space where no horizon is apparent. Forest scenes work best when you use clearings to establish a foreground or middle ground to help divide space in the scene. It doesn’t matter if you are painting jungle or alpine forests the abstract qualities of design still apply.

It helps to visualize the anchor points of the composition first. These objects will have the most detail and can be flagged or spotlighted for greater effect. They will give your eye a place to go in the image allowing you to use areas of less detail as counterpoints.

I always start with large areas of color keyed to the average for that mass this helps to unify the shape. I set up the different layers and work between them to balance color value and shape. Once these are established to my liking I begin to develop and refine the painting adding interest as I go.

dredsina:

This guy really knows how to paint rocks.