nudity, violence, epilepsy warnings
i AM MIA, HELLO
I just downloaded SketchBook Copic Edition. AND IT’S REALLY GREAT!
The interface it’s like the other SketchBook programs but I love how the colors can be blended and treated almost like real Copic markers!, I’m exited.I’m sharing my first drawing here so it’s not so cool…but I’ll be practicing a lot with this thing.
The download it’s easy and you can find the program for free in the AppStore, here: DOWNLOADHope you guys enjoy the program as much as I did!
*A*
http://copic.jp/en/sketchbook-ce.html And a link for Windows users.
Server, calm your shit immediately so that I can download this. T:<
If anyone who’s gotten through could upload a mirror that would be rad!
WHY DO I HAVE 6 HOURS OF CLASS AHEAD OF ME I WANT TO PLAY WITH THIS
wow I regret posting this; I honestly like this graphic because it was a cool scale of abstraction but all the comments on this are just shaming people who draw beyond 5 or people who draw beyond 5 ~ironically~ or futiley and are trying to “improve” to reach 1 and 2 and sorry maybe this is immature of me to get angry about but some really mean comments are showing up on my dash now as in “I only draw 6 or 7 when I’m lazy or if I’m making fun of anime style” I mean FucK oFF!! why haven’t we gotten past the fact that there is no such thing as a style hierarchy, especially when it comes to faces god I am so tired of everyone’s fixation on FACES. Just because someone doesn’t want to draw lips or nostrils doesn’t mean they are lazy or because they can’t!!
like I don’t even see what’s so terribly wrong with 9?? I know a ton of artists that draw close to that point that are great?? JESUS
lol thank you
does it not occur to people that the more representative you try to draw the more glaring any mistake you make is? not to mention more symbolic representation means it’s easier for the viewer to project onto the figure, making it more relatable?
i’ve said this before… not that one is strictly better than the other but this post-deviantart pressure to cover up the anime influence makes shit look so fucking muddy and goopy and badly constructed 96% of the time
if you want your shit to be less anime then stop letting online artist communities (who draw the same exact way you do) be your only goddamn influence, get off the internet and go to the library or something
(via terribleclaw)
someting for a friend
i just want to say, for people reblogging this, that this is called the “rule of thirds” and the tips i wrote here by no means are things that you HAVE to do! these are just tips i use for myself, i kind of made up the bubble rule and i dont even know if im using the rule right haha so there theres that! i just like to use it so i know my bubbles have a place to go
examples of me using rule of thirds to separate elements in “Rachael and Penny”
i got the information a long time ago from a thread on penciljack called Storytelling 101, specifically this image
there is tons of information on rule of thirds available, i know eyecager has a post that dips into it ….
Making note of this. I really need to work on my word-bubble placement.
pay attention because this shit helps
a really validating experience as an artist is when you come across an artist that absolutely fuckin BLEW YOUR MIND in the past, decades or years or months ago
i’m talking like I QUIT THIS PERSON IS TOO GOOD I CAN’T EVEN COMPREHEND HOW THIS IS MADE
and you look at their work again from a different place and maybe they’re still miles and miles ahead of you, maybe not, but now it’s doable
i don’t know how common this experience is though, i feel like it should be? but it’s a really nice way to mark progress tbh
Frank Santoro tcj.com/tag/lay…
holy fuck these are incredible thank you so much
Don’t Throw Away Your Markers
“This is just a quick and simple tip for artists who use markers to color their work. Refilling your own markers can save you money, and it’s easy to do.”
how does this not have more notes!
(via 511kinderheim)
…dang, what?
I saw the above (official, as far as I know) art of Nami from One Piece and it kinda made me freeze up for a second. Initially it was her anatomy, but when I looked a little longer my mind went holy shit what is wrong with her FACE? The proportions are - to me anyway - incredibly disconcerting. I threw the image into photoshop and sketched over it, adjusting her proportions and face to a more, uh… human look while attempting to maintain the overall aesthetic.
It made me wonder why I noticed her anatomy errors before her facial ones, because I really think there’s more wrong with her face than her body. Is it just because the anime stylization is one I’m so accustomed to that my mind just glosses over strangely-arranged faces? Is this why people can draw in an “anime” style for years, depicting characters with enormous eyes that seem to be melting off of their face, without understanding or noticing that it’s unappealing or strange looking?
I guess it really is just a matter of preference in the end, but I think there is a good degree of acclimation to this as well. I got so used to accepting the anime look for faces that recognizing errors and things that just shouldn’t look right took me longer than I’d like.
1. That’s not Oda,
2. There is no “anime style”
3. To imply all Japanese cartoons have the same construction is ignorant.
4. No need to go around correcting people’s art who never asked for your opinion.
5. Not everything has to be realistic proportions.
6. Even if I don’t like a style I welcome the fact there are varieties of styles.
7. I’m pretty tired of art kids obsessed on anatomy. They were taught anatomy was the most important, when it isn’t. It’s Humanity.
8. Oda has loads of humanity, his stories are interesting, touch your heart, and he still manages to draw amazing environments and character designs.
9. The reason it doesn’t look immediately “incorrect” is symbolism, it’s the same reason -> ” :) “ looks like a face to you, that’s how everyone’s brain works even though there’s no way that actually looks like a real face.
word life, maximo. i’m not even a one piece reader, and i’ve known for years what a badass cartoonist and draftsman oda is. (although i don’t think the OP is particularly shitting on oda as much they are on anime style)
anyway, i think i would have been more impressed if OP had actually attempted to nail her expression and the angle of her head a little better - her face is pointed down but she’s looking up. it doesn’t looked fixed - it just looks like the unimportant details of the character were shuffled into what OP considered to be “better looking” templates, while the gist of the drawing is totally lost. and real talk, like any art professor, editor, art director is going to look at that and say the end drawing isn’t also anime?
but really i’m pretty tired of the postanime obsession with anatomy, and the idea that good anatomy is the be all and end all of good art, ESPECIALLY regarding cartooning. because of that we have this poopy boring yawnwave of technically apt young cartoonists and whatevers who draw proportionally sound poopy boring yawnart. you totally nailed the proportion of arm to leg length, but i’m fucking falling asleep.
of course proportions and anatomy are important to learn for any style - you need to understand these things to abstract them. idk, i just feel like somewhere along the line everyone got all in a shitfit about anatomy and forgot that they had to make their people look alive.
it just reminds me of when i got an anon message about how ‘rebecca sugar doesn’t seem to understand anatomy’ as if it made her any less of a fucking beast at nailing form or… any less working on adventure time, really. oh fucking boo, she drew a forearm too long in sacrifice to get a gesture down while doing pen sketches!!!! REBECCA SUGAR DROPS 40 POINTS ON THE INTERNET ARTIST LEADERBOARD, P-P-P-P-P-WWWwwWWNAAaAAAAAAAAAAAGE
nothing personal to the OP, just, absolutism ain’t for cartoons.
yes okay! you’re so cute!
it’s not easy but i think right now i’m really seeing the payoff of going down this path, in terms of improvement. i am really really enjoying my classes right now and feeling stimulated, and i’m happy to be exposed to so many different influences. all the shit you wouldn’t find on your own really makes a difference.
i do get burnt out sometimes, i had a really harsh summer with that and i’m still paying for that in regards to some major projects, but you just have to kinda replenish yourself and draw through it. i don’t think anybody can prevent that from happening.
so far my favorite classes at SVA have been my experiences with printmaking or working with my hands OTL OTL It’s just nice to have a class where you just have to Make Stuff Using These Things. I guess. I always liked printmaking though. In regards to cartooning only, History of Cartooning with Cavalieri and Storytelling have been my favorites and have shaped me the most.
Don’t really have a favorite project, nor do I really have a chosen career. I like illustration and cartooning but I’m still figuring out what I want, and what will actually feed me with the skills I’ve acquired. I actually like working at a desk and collaborating with others a lot more than holing myself up working freelance.
New York is a really good place to be for networking, so I’m just kinda meeting people and seeing what the future holds.
The actual “getting a degree” doesn’t quite do shit for me, I couldn’t care less about being able to say I have a bachelors in cartooning when I’m out of here, but getting there is absolutely fulfilling, yeah.
ARGHHDGHFJ i answered this entire thing and my phone deleted it, but anyway
in terms of artists who personally helped me figure out how to draw kissing (IT IS SO DIFFICULT, ACTUALLY????), it was lawn’s art that did it… she deletes and shuffles around her art a lot, but you can still get a good sense of staging, body language and intimacy from her work.
frankly, it’s easier and more effective to portray a kiss with those things than concentrating on facial anatomy and sdljflkasf whatever.
um other than that… check out underground porn comics! alternative artists are more likely to not be stodgy and sterile and trying for some arcane idea of anatomical perfection, which is probably why a lot of comics have one kiss then dick syndrome if you ask me…
western artists are probably going to treat you better with this kind of thing. esp. european comix. IIRC, jess fink and the artist of curvy are very good at getting that across.
yonekura kengo is another person who can draw kissing pretty well, i think…? ono natsume/basso kind of dances around depicting actual kisses a little, but she’s another person to look for for staging and stuff.
interesting question…!! if any followers wanna weigh in, please do!
the best kind of fanart
dude
same
i love and am heavily, HEAVILY influenced by the era of japanese fanartists with geocities fansites and like pages and pages of completely unironic oekaki drawings of edward elric naked in a bathtub with a bottle of whiskey and a thousand-yard stare
(although i’d phrase it more as “adding” layers and complexity instead of “making it look like” because of the nature of fanwork idk IDK)
oh no absolutely, i’m exaggerating, and also was kind of speaking out at the victim attitude submitters to the meme had started to show recently - there was a doozy about saying “mean things” about a piece by someone who had said “mean things” about yours, etc…
critique isn’t meant to break your spirit and it’s not a fucking race and, furthermore, you are going to learn from people pointing out things that aren’t working in your piece. we remember negative things, and there are always going to be things people see in your work that you don’t.
you are at art school to learn, and it’s really easy to NOT learn, by upholding an attitude like that. yes, it sucks when people point out a flaw and art is very personal already. so what bothers me isn’t “i like this less because some flaws i was unaware of were pointed out” but “boohOOOHOOOO my perfect picture is RUINED FOREVER AND I HATE IT AND I WANT TOC RY BECAUSE MY MEAN CLASSMATES DIDN’T LIKE IT AHOOO HOOOOOO HOOOO”
i guess i’m kind of solipsistic and bitchy about this kind of thing because ever since around middle school, i started comparing my recent art to my older art and noting what was different… and when i drew something that i absolutely loved, i also started being excited for the day when i would grow so much from there that i would fucking hate it.
and it feels so good when you fucking hate it.
as an art student, or a professional, sometimes you have to draw something just to get it fucking done and out the door. in general, you have to make a lot of shit to get good at it. you can’t fucking baby every single thing you draw, and if you do, chances are you just plain do not draw enough, and hey! maybe that’s why you feel so eviscerated at critiques!
so basically everyone would be better at drawing if they stopped fucking crying about it and actually used that energy to draw, and just because you notice things that don’t work about something you made, doesn’t mean you have to hate it. just take the things you like from it, pat yourself on the back about those, and think about the things people said for next time. it’s not the end of the fucking world.
Here are some pages from a 16p mini I had to make about myself for homework. Might have these for NYCC. ps I’m sorry.
h8 reblogging my artblog but finding the abhorrent goblin inside of me is probably the most valuable thing i took from gary panter’s storytelling class
