Such a fantastic resource!!
THERE ARE DIFFERENT KINDS OF PEONIES idk which one so i just drew the one that most people use
I’m sorry it’s no vrery detailed lies on my side
It’s not often any more that I come across tutorials on stuff I’ve never learned before but this honestly an idea/technique that’s new to me.
I’m tired of reading fic where someone who’s dark-skinned gets described as “cafe au lait, caramel, chocolate,” or some other candy/coffee drink -___-‘
Okay writers! If you guys can come up with a bazillion lovely words to describe pale skin that are NOT related to food, you can do the same for the other end of the spectrum. To that end, here are nice ones I’ve happened across that I like a lot:
- olive (still on the fence about this one)
- smoldering wood (a personal favorite)
NOT HARD, PEOPLE.
Reblogging for fic writers looking for tips (I remember being asked about this once).
The thing with a “main character”, is that the reader see the story/world from that characters point of view - we can often read the characters thoughts and feelings more than other characters in the story. You can also use the perspective to increase this “effect”.
You can use the eye-level to display the world seen from the main character. Look at the two pictures above, the characters have the same size on both pictures - the only difference I’ve made is to switch eye-level. And by just doing this, we switch between the adult and the kids point of view - even though they both look at the same thing.
So, when you are doing a perspective, FIRST decide the eye-level and after that start placing out all those annoying guidelines.
- The closest I could find on Amazon to the watercolour set I use is the Sakura brand of Koi Assorted WaterColours Field Set.
- Just use any old toothbrush. I used to use the ones that my dentist would give me after a visit, just because those were kind of cheap and I wouldn’t actually use them anyways.
- I use acrylic for flicking and highlights because watercolour-whites tend to fade when they dry.
- Also, remember to keep your hands clean, because nothing’s worse than smudging graphite into your watercolours and then unable to get it out.
- Try to avoid black and white when possible. They tend to dull the colours and it loses that watercolouring lustre.
Since I started watercolouring again for my daily sketches, I’ve gotten a lot of asks/dA notes on if I could give a tutorial on watercolouring and also more specific questions that overlapped each other, so I decided to do a semi guide/tips/answering thing.
I actually started watercolouring before I went into digital medium, so I have a bit of personal experience, but I am essentially self-taught when it comes to watercolouring since there weren’t a lot of watercolour tutorials online back then to begin with, so I cannot promise that these are the absolute correct way of doing things.
Hope it helps anyways :)
4 all u kids who wanna study some figure drawing/anatomy
- Figure Drawing For All It’s Worth - Andrew Loomis >PDF download<
- Mastering Drawing The Human Figure - Jack Faragasso >PDF download<
- Figure Drawing Design and Invention - Michael Hampton >PDF download<
- Dynamic Figure Drawing - Burne Hogarth >PDF download<
All the downloads are free they only take a little bit time to download because these are big files!
oh my fuckign god
YES I NEED
from the back, the ear looks like a diaphragm! (Ask your nanna.)
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
Refresh your knowledge of composition often; you may break some habits you didn’t know you had. (Tangents are not one of mine. I despise tangents so deeply that I became physically uncomfortable while looking at that Schweitzer guide.)