The witching hours, but like those workout tapes with witches getting fit
thesatyrsorcerer asked:
luwha answered:
Tutorial time!
BEFORE ANYTHING: This is how I personally do this. Other artists will have other ways, other styles and other references, so expand your horizon looking up to them too!
BEFORE ANYTHING²: I’ll have to trust you with the basic anatomy understanding!
So LETS GO
Those are human legs doing things human legs do, and that’s on the last one is a suggestion of the bones, aint anatomically correct but i just need y’all to visualize it.
Then:
This is anthropomorphic leggy! Also with bones suggestions! did you see the catch? no? (I used deer legs as references!)
See now? With luck we’re mammals so we sorta have the same bones in different ways, and use it as advantage!
In fantastic anatomy, there’s not much rules because, well, it’s not real so there’s no book teaching you how to properly draw those. like centaurs, they have two toraxic boxes! 4 LUNGS??? 2 STOMACHES? Doesn’t matter, does it? it’s belivable, and it’s what matter!
I repeat: It’s only belivable, and it’s what matter!
Also the muscles will work sorta on the same way (see the blobs). On the satyr ones, the purples are smaller, just as the brigh blue one, since this part is smaller than the thighs and feet, meanwhile it’s usually longer on humans!
It’s more about understanding the shape then drawing the leg over it, because this makes you understand how it was supposed to move even you don’t have a real anatomy satyr leg in front of you, or dunno, octapus merman, go wild my buddy!
This is how i usually doodle them before even getting the anatomy right, usually i just need the idea of the leg before actually starting
and most important:
GET. YO. FRIGGING. REFERENCES.
yES YOU HEARD ME RIGHT. References always. Disney has a lot of stuff free for you to look at, and fantasy is a common theme, there’s thousands of other tutorials and artists that also do this, and it’s good to make sure you saw at least 3 or 4 more, never hurts learning more about what you want to make A++!
With reference, you’re not tied only to deer legs, but dogs, elephants, crocodiles, birds, snakes?, anything! It’s really important!
GOOD LUCK!
gravitality asked:
elvarinth answered:
Hi!! I’ve absolutely been thinking about that, yeah, in fact I recently talked about that to my boyfriend just recently. It’ll likely happen after october! And to answer your second question! I made a thing on legs that i hope you’ll find useful!!
So. I’ve already explained basics on legs here, but I don’t think it hurts to go through some extra details to help you understand legs some more.
The very basic thing is to imagine legs as teardrops. Again, this has already been covered in said tutorial above, but I figured it’s still good to mention even the most basic thing that I know of. I still highly recommend you check it out to get in more detail and to see some other examples and practices that you do. But basically, think of legs in the shapes of teardrops, when it comes to shape. If you need a simple stick-figure to connect the legs in the first place, make sure that they bend at the knees a bit so that the legs don’t come off as stiff and unnatural.
As you can see, this method works perfectly for realistic legs as it does for stylistic ones. Remember to use these as a guideline, never to be the exact base of the legs you will be drawing. If you draw traditionally, remember not to draw these guides too hard, or they will be hard to erase/do freestyle!
But how do you actually draw out the legs without drawing them perfectly straight, as shown to the left? The trick is to add volume to them, and how you do that can be winged to your own liking. The idea is to think in curves. As no leg is perfectly straight. You may make these curves minimal if you don’t want them to be curvy, but keep in mind, still, that not even your own bones are perfectly straight, so it is highly recommended that you make them bend, at least a little.
It all depends on how you draw them as well. Say you put your legs together, as shown in this picture, what happens to the fat and muscle? Naturally, they press together, much like how thighs squish on the surface when you sit down (I’m sure most people know what I’m talking about). Make sure this shows in your art! This is very important to keep in mind, because it makes it all look more natural and believable. Try to cross your legs or stand up and sit down again for real-life examples!
The same applies for stretching your legs, more or less, except they appear to become more ‘hollow’ and slimmer. They become less soft to the touch, too, and might show. Try stretching your legs and feel where the muscles tense and where it feels ‘hollow’. This is very helpful with your art.
Many leg tutorials talk about legs without mentioning the behind. It requires a tutorial on it’s own, in all honesty, but this is the most simplest way to draw it connecting to the legs. Remember that it comes in many different shapes, and this is just a super basic guide! Two circles overlapping, while following the line and flow of the legs. Remember the muscle/fat as mentioned above!
Okay, so we got the basics of leg shapes figured out? What if you want o draw them in a certain pose, or with a certain silhouette, but perhaps do not have the reference for it? Or you want to blend your style into it? The key is to not shy away from doodling the form. Make mess, draw lightly and don’t care about the anatomy. That way you’ll get everything down without it appearing stiff. You can clean up the sketch later, always, and if you can, use a reference after you have drawn your pose, to correct your drawing.
Remember that the hips do a lot to the pose of the legs! Make sure they are in flow with your legs, so that it can look more natural. Remembers that hips ‘rotate’ with the spine.
I’ve talked about this method before when it comes to posing, and the same applies for the legs. One way to make legs appear ‘steady’ is to picture them standing in a line, and one of those legs need not to stray from the lines too much, making it steady. If you want a dynamic pose despite the steady pose, you can always have the other leg stray from the line, since it only matters that one leg is steady. This method can create good, casual poses without making them appear boring. (also notice how the teardrop shapes are used here, despite the highly stylized legs)
Do you want a highly dynamic pose, or them to appear unsteady, then skip the line entirely and make both legs aim away from it completely. As you can see, the legs appear more moving, in action, as if they’re fighting, falling, or dancing. As you can imagine, this is not a pose that one could stay steady on, suggesting that it’s taken mid-movement. More about posing and this ‘line’ method is talked about in this tutorial.
Hope this helped you, if you have any questions let me know, and if you’d like to check out all my tutorials they can be found here!
a pal asked me how i drew teeth so i made this quick lil mini tutorial on how i do it!! this is by no means a professional tutorial and im still learning but i hope this might b helpful to some!
THANK YOU! ANON!
I stopped the coloring of the shirt
here cause I guess you get the basic idea. If you wanna see more of the
coloring and the brush I use you can look HERE!
Also you can see how not just folds but shading can define a form HERE!
I hope this helps! I’m so bad with words and explaining things (/)//(/)
Anonymous asked:
ghostbri answered:
hey, thanks so much! this might get a lil long (as it always does!!) so bear with me.
firstly i want to say, there’s no right or wrong way to pick colors. every artist has their own palette they prefer and i think it’s super delightful to spend time developing your own special sense of color. so even though i’m explaining things in a “this is how you do it” sort of way, it’s not the only way! just my way. the best method to develop your own sense of color is to look at a LOT of art, look at a LOT of the world around you, and practice practice pratice.
at this point in my life i pick colors intuitively just because i think it’s something i’m naturally tuned into, and i’ve been doing it for a few years, so i don’t actively plan my palettes. but here are some things that i think about as i pick colors.
firstly, i want to go over hue, value, and saturation. i’m sure everyone knows these intuitively but i want to explain them in words. hue, value and saturation are what make up a color, and decide how colors differ from each other.
hue: what color the color actually is. red, purple, green, yellow, and everything in between.
value: how light or dark a color is. if you’re painting traditionally, adding more white or more black to a color lowers or raises its value.
saturation: how “pure” the color is vs how much neutral tone is in it.
here’s an example of all three:
this comes into play because a big mistake i see beginners make is that they pick a “just” color, and by that i mean they pick “just blue” or “just yellow”. imagine buying a set of oil paints and only using paints straight from the tube without ever mixing. it would be impossible! so i try to avoid picking “just” colors, except as for a complementary color (more on that in a bit). here are some variations of a red, for example.
so, the biggest thing for me when i pick colors is that i want them all to be friends. i want them all to have something in common so that they get along. i usually lose control of a painting when my colors feel to different from one another. so, i will usually start a painting with one color i know for sure i want, and “subordinate” other colors to it, meaning every other color i pick has to look good with that color. as to how you figure out what looks good and what doesn’t, that just takes time and lots of observation to build a personal opinion :) here’s an example from one of my paintings. in this case, the main color is the trees.
and here’s another from rick & morty, the main color is the sky this time.
now that that’s out of the way, i’m going to give you the Actual Cheat Sheet for color palettes. in color theory, there are 8 basic color schemes that are generally pleasing to look at. here they are.
i usually use an analogous palette or monochrome palette out of preference. the two examples above more or less fall into those categories. however, i also like to use split complementary because the complimentary color adds a LOT of contrast and visual interest. it’s great to use if you have a specific thing in a painting you want to draw attention to. here’s an example:
it doesn’t always have to be a perfect split complementary, just one color that differs from the “family” of colors that take up a majority of the piece.
now! you might be wondering when’s the right time to subordinate a color, or where to put it, or how much of it to use, etc. and the answer is: CONTRAST. there is always visual interest in things that are different. i was rifling through my school notes and found these great types of contrast when working with color.
value: things that are light vs things that are dark.
hue: two colors that look different. I.E. yellow vs blue.
saturation: things that are saturated vs things that are desaturated.
proportion: note the example above. a majority of the painting is orange, so the green stands out because there is proportionally less of it.
temperature: things that are warm vs things that are cool.
complementary: red vs green, blue vs orange, yellow vs purple. when in doubt, these colors always contrast against each other because they have nothing in common (there is no red in green, etc).
simultaneous: this is a little advanced and i’m bad at explaining it, so please read up on it here.
a super helpful exercise is to look at your favorite illustrations, paintings, photographs, designs, etc and assess which one of the 8 color schemes (linked above) it has, and which types (can be more than one) of contrast it has. we did this in school and it REALLY helped me look at color better. here’s part of the assignment i did, the artist is annette marnat.
so! that’s pretty much how i think about color and how i pick my colors! i hope it was somewhat helpful! there’s so so so so much about color theory i can’t even begin to cover, i highly urge you to watch some videos and read some books and articles to further your study. a great starting place would be this series of videos. these are made by my teacher Richard Keyes, i think he had a dvd or something. everything i’ve talked about so far i learned from him and he is an absolute expert in color. these videos are invaluable. if you take anything away from this post, let it be to watch these videos hahaha.
to answer your question about my color leads, every painting was a collaborative effort between the three of us, and sometimes other painters too. it was a very hands-on crew, so i can’t say any of the r&m bgs i did are 100% “mine”. however, i think my personal color sense is waaaay different than jason or phil’s, which made the process very interesting because we usually had 3 very different opinions hahaa. you can check out their work here and here to see what things they brought to the table in relation to my own contributions.
thank you for the ask! again, i hope this was helpful :)
I want a GPS voiced by Bang Yongguk
“Chyeah turn left in 5 miles. Or you can go down the right path and fight for justice to create a better world”
😂😂😂
The importance of consent: a narrative.
I will forever reblog this gifset.
look at how badass she is though i mean some of it gets on her too and doesn’t even give a fuck
She pours hot liquid on her own leg she’s that badass.
fire cannot kill a dragon.
jaubaius