Gripping A Sword Overview

for all the artists out there, here are my favorite resources i use to learn!

Files

The Complete Famous Artist Course

Art Books and Resources

Art, Anatomy, and Color Books

PDF Files of Art Books

Internet Archive

YouTube

My YouTube Playlist of Tutorials

How to Draw Facial Features

Drawing and Art Advice

Drawing Lessons

Art Fundamentals

Anatomy of the Human Body

2D Animation

Perspective Drawing

Websites

Pinterest Board for Poses

Another Pinterest Board for Poses

Pinterest Boards for References

Reference Angle

AdorkaStock

Figurosity

Line of Action

Human Anatomy

Animal Photo References

Humanae - Angélica Dass

Fine Art - Jimmy Nelson

Character Design References

CDR's Twitter Account

iamagco's Twitter Account

taco1704's Twitter Account

takuya_kakikata's Twitter Account

EtheringtonBro's Twitter Account

Drawabox

Color Wheel

Color Palette Cinema

Free Images and Pictures

Free Stock Photos

FILMGRAB

Screen Musings

William Nguyen Light Reference Tool

SketchFab - 3D Skeleton Model

Animation References - sakugabooru

Animation References - Bodies in Motion

Tips for Illustrators (and other artists too!)

I’m an illustration major at MICA (please check out my blog here as a way to support me for making this post!), so this is catered towards what I learned in my illustration critiques and from professional illustrators. I think these tips can go for other artists too, though!

None of these are things that work all the time, but they’re general “rules” I’ve been taught. You can break them, just know why you’re doing so! These are just things I copied from my critique notes, so most are general tips I’ve heard and copied down.

General

Enjoy what you’re working on, but be okay with changing it.

Anatomy, and accurately trying to portray it, is really important.

Time and space can be portrayed through focus and distance.

When working digitally, make some of your own textures (traditionally) and scan them in. Adding them into a picture adds an element of your own hand and makes your work stand apart from other digital work.

Contrast is a great thing.

Saturation is a great thing, especially in watercolor (soak that brush with pigment!).

Your style should never draw an obscene amount of attention to itself; it should just work fluidly.

Consider what medium(s) work best for your idea.

Cover your paint palettes (particularly reusable ones) to make sure dust doesn’t get in the paints.

Spin the page when you’re working. The time is takes to do that will show some major improvement in your art!

Use dark watercolor and then a light colored pencil on top, never the other way around (it will look muddy and ruin clarity).

Make sure to sometime pin or place you piece far away and step away so you can see the whole composition (or zoom out a lot digitally).

Consider the genre and audience of what you’re working for (and if it’s yourself, then you’re your own audience!).

Illustration is a branch of fine art, don’t forget that.

Fantasy art usually needs a lot of high detail.

Coloring

Pick an overall color palette to work in, then add in other colors as needed.

Complementary colors (ones opposite on the color wheel), when placed next to each other, can pop an object forward or draw attention to it. (Think of a red ornament on a green Christmas tree).

Designate the shadows to be either warm or cool, and the highlights to be the opposite. Stay with this throughout the entire picture.

All colors have a warm and a cool hue (cool and warm blues, cool and warm oranges).

The more saturated a color is, the more it will pop forward in the picture plane.

Don’t use colors right out of the paint tube.

When making a shadow, tint the color with the complementary tone (it makes it a little more grey).

Colorizing backgrounds lines makes them recede in a colored image with line art.

Blue and pink tones are great for use in skin tones.

Flats need to be fairly differentiated colors.

Drawing

The reference should never be an excuse for a misleading or awkward pose. You have the artistic license to alter an awkward pose and not just draw from a photo.

With scratchy or textured line art, find some places of solid black too, to allow the eye to rest (or where you want something to pop out).

How you render all the elements of the picture is what makes your own individual style.

When something is illuminated, it should be the brightest part of the composition.

Anything with a straight angle (like the corner of a room) has one wall/side being lighter in value than the other. There is a crisp distinction.

Sometimes adding more lessens the strength of the image.

Fabric folds are crisp, if they’re too soft they’ll look like clay.

Line heaviness and weight can determine depth.

Anatomy/Characters

Anatomical consistency is very important.

Inside of the mouth is usually dark.

Show character motivations with actions and poses.

You can crop a face or figure to set a mood.

In any and every picture, pay special and close attention to the hands, feet, and face.

Learning musculature, even if you use reference, will help you create the body you want for your character. Understand the human form…it’s easier to alter if you understand it in the first place.

To pop a figure forward, add a little bit of rim lighting (great with backlighting).

Composition

Avoid spots where a line or shape comes really close, but doesn’t cross, the edge of the paper. This is called a tangent and tangents are bad (they suck the eye into just that one spot and stop the composition).

Nothing in the picture is accidentally there, it is all drawn by you, so make sure everything has a conscious placement.

Don’t crop anything that shows essential character expression (including essential parts of the pose).

Never crop a figure at a joint (it makes the limb look amputated unintentionally).

Consider how you show detail with smaller characters…what are the essential characteristics?

Shapes of color or tone can make great framing devices.

For the most part, render the foreground with more clarity than the background…you want atmospheric perspective to be used to make it look like it’s receding.

Line heaviness/weight can combat (in a good way) any very dark areas.

When the character breaks a border (shape, line, panel etc), it shows dominance.

Make the shape of your negative space visually interesting.

“Cornerstops” are great. They are a compositional element that visually blocks your eye from running off the corner of a page.

Shadows can be a great compositional element.

Narrative Illustration (Portraying the narrative)

It is a successful illustration if the story is told.

Use every element of the image to tell the story.

Sometimes you have to take out elements you love for the sake of storytelling.

Think of images as being fast/slow, quiet/loud. What techniques portray these senses for you, and why are you using such techniques? What areas of the picture are slower and faster, why those areas?

Indicate how lavish or simple a place is by the details you choose to include in the background.

Don’t make it obvious that you “curated” the picture; it should look natural.

Cover illustrations don’t always need big and bold text, as long as there’s a strong narrative being portrayed.

Something mid action carries the narrative better than pre or post action.

You should be able to tell a story without relying on text.

Sequential Art (Comics, etc)

Color between panels can draw the eye around the page.

Big jumps in narrative can add humor and excitement, just make sure to think of why you are having the jump there.

When starting a sequence, make it obvious where you start (establishing shot; biggest to smallest, etc).

Make sure panels can read as separate images even if you took the gutter away.

Smaller panels are frequently used for faster/quicker actions.

Removing the background in certain panels allows the scene to be read faster; you only need one background per page (unless the scene in the background is changing).

Style, readability, and timing are key things to keep in mind.

Does the punch line/climax happen at the right time on the page?

Before planning a page, ask yourself: “How much time is elapsing between the first and last panel?”

Consider panel shape and size.

The composition, and where the eye flows inside every panel, informs where the eye travels to next…compositionally lead the eye from panel to panel.

The more panels you have, generally the more time goes on.

Don’t rely on speed/action lines to make things dramatic.

Give word bubbles a little breathing room.

When doing a graphic novel, you’ll usually have to redraw the first few pages since the characters will come more naturally to you by the end pages.

There is a design element to sound effects.

Digital Art (Mostly Photoshop based, but some are general tips)

Before printing, you usually want to switch your file to CMYK (though save a file in RGB too). Print at 300 dpi.

Before printing, you can up the brightness, saturation and contrast until it just starts to look awkward. You’ll learn the best settings for the printer you print at.

Don’t place digital textures anywhere. Consciously arrange them.

Don’t overrender. Digital art tends to be the most successful when it feels less digital than someone would expect.

If your color scheme doesn’t look cohesive, you can use a fill layer of one specific color to unify everything (Layer->fill layer). Lower the opacity to around 15-30%.

Part 1 of big "how to chibi-fy this flower????" guide is here!!! 🥰

Having troubles with facial angles in your drawing style?

Try a 3D sculpture of your art in your own style in a free program that is simple and very easy to use.

The program is called Sculptris and is a free off-shoot program from Zbrush, that program that you keep hearing about but either takes selling your kidneys or piracy to actually use. 

If you download it and sculpt out a facial model, you can have references for your own work for all of time. No more endlessly searching Google for reference materials or twisting/rotating/flipping a drawing to see if there are flaws. And you can easily edit it to create more facial types. This way, you can make character references for any and every face and facial angle that you can think of.

The program offers mirroring right from the start, so your faces will be perfectly symmetrical. You can turn off the symmetry for things like scars or otherwise. 

It takes a little time. For instance, I downloaded the program on Christmas and, in my spare time, this took a few days of getting familiar with the program (first day) and then sculpting for a few minutes each day, mostly due to my perfectionist nature. And this one isn’t even done. I still have to mold the mouth, ears, and other smaller aspects before I consider it done. However, I was so giddy over the possibilities that I wanted to share this with my fellow artists.

From now on, I have reference for a face in my own style and will be able to create things so much easier in the future.  I hope that this helps you guys and that you have fun with it. 

my color tips pdf is now available ! i had a lot of fun with this, i hope you enjoy ^^

BUY HERE or HERE

tweet

Something like this would be so colossally helpful. I'm sick and tired of trying to research specific clothing from any given culture and being met with either racist stereotypical costumes worn by yt people or ai generated garbage nonsense, and trying to be hyper specific with searches yields fuck all. Like I generally just cannot trust the legitimacy of most search results at this point. It's extremely frustrating. If there are good resources for this then they're buried deep under all the other bullshit, and idk where to start looking.

Hair Styles in the seventies.

I'm so excited to announce Loish's Digital Art School! I've been working on this for a long time and I'm so glad I can finally share it with you all. This is for those of you who are looking for brushes, tutorials, and other super helpful learning content!

Loish's Digital Art School is a collection of resources for digital artists that includes video tutorials, brushes, palettes, challenges, and more. Most importantly, it’s free! I know how important it is to have access to helpful information, especially if you’re self-taught. To get access, just head on over to Loish.School ❤️

art cheats

hello i am here today to not lose track of the art cheats i have discovered over the years. what i call art cheat is actually a cool filter/coloring style/way to shade/etc. that singlehandedly makes art like 20 times better

80’s anime style

glitch effect

glow effects

adding colors to grayscale paintings

foreshortening ( coil )

foreshortening ( perspective )

clipping group (lines)

clipping group (colors)

dramatic lighting ( GOOD )

shading metal

lighting faces

that is all for today, do stay tuned as i am always hunting for cool shit like this

A master post of Thomas Romain’s art tutorials.

There’s not enough space to post all of them, SO here’s links to everything he has posted (on twitter) so far : 1 2 3 4 5 6 7 8 9 10 11 12. 

Now that new semesters have started, I thought people might need these. Enjoy your lessons!