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Stripe & Glasses

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warped-vision:

Victor Bykov

(via artbasket)

thisdisneyday:

Handsome princes indeed.

fucktonofanatomyreferences:

A gracious fuck-ton of big cat references (per request).

(via anatomicalart)

sherlockspeare:

Don’t ever ask me what the hell I was thinking ‘cause I don’t know either.

lettherebedoodles:

Disney Princes… ish

After seeing these awesome edits by “thecrownedheart”, I just had to make a few of my own. So here’s a few edited screenshots of our lovely Disney ladies… as men. :D 

poshuanotes:

How to draw folds

Notes on how to draw folds back when I was teaching manga classes back in 2006. From the book “Drawing people” by Barbara Bradley.

http://www.amazon.com/Drawing-People-Portray-Clothed-Figure/dp/1581803591

This book has a very detailed description of 6 types of commonly seen folds and I think is one of the most educational resource on how to draw folds(Besides Vilppu and Bridgeman).

這是我以前教漫畫課程時給學生看的講義.來源是芭芭拉布莱德丽的”着装人物素描”«上海人民美术出版社出版».

書裡講解了皺摺形成的兩個主要原理(拉扯與擠壓)以及因兩種作用力下形成的六種常見的皺褶類型.

(via theheroheart)

shoomlah:

So I was chatting with the lovely Justin Oaksford yesterday, and he casually asked if I used photo reference for my recent Rolemodels piece- not as a bad thing, but because the pose and the camera angle read well.  Pretty sure I grinned like an idiot when he brought it up because, goddammit, I’m proud that the work shows!  I’ve felt like my work has been somewhat stilted as of late- I could feel myself subconsciously trending towards easier angles, easier poses, easier expressions just because it’s slightly less frustrating for my brain to process- so getting that confirmation from a colleague was pretty damn satisfying.

I think there’s a tendency for artists to take pride in being able to draw out of your head, and, while that’s an admittedly important skill, what’s actually important is what that skill implies- it implies that you’ve internalized reference.  That you’ve spent so much time looking at the world around you, studying it, drawing from it, breaking it down, that you’ve amassed an extensive mental library that you can draw from.  You are Google reborn in the shallow husk of a human being.

But heck, the world’s a big place- what are the chances that you ever get to a point that you’ve internalized all of it?  Internalized it AND ALSO are never going to forget it ever?  Probably no chance at all.  Sorry buddy.  So rather than bemoaning the fact that we don’t have impenetrable search engine cyborg brains- yet- you sure as hell better still be using reference to fill in/refresh those empty shelves in your mental library.  You shouldn’t have worm-ridden books about dinosaur anatomy from the 60’s in there.  Stegosauruses with brains in their tails?  CLEAN THAT SHIT OUT.

So my general process for using reference of any sort is:

  1. loose thumbnails and brainstorming.  If you have an idea, get that raw thing- unadulterated in it’s potential shittiness- onto paper.  Good art is a combination of both instinct and discipline, so you don’t want to entirely discount those lightning strikes of brilliance.  Or idiocy.  Happens to all of us.
  2. research and reference.  Start gathering and internalizing whatever reference is pertinent to your piece- could be diagrams, art, photos, good old-fashioned READIN’, whathaveyou.  Please note that this doesn’t mean find one picture of a giraffe- this means find tons of photos of giraffes, read about giraffes, understand giraffes, and learn how to incorporate that knowledge into your art with purpose and intent (Justin uses the word “intent” a lot so I’m stealing it).  Don’t blindly copy what you see, but understand how to integrate it in an interesting and informed manner.
  3. studies and practice.  Could be lumped in with the previous step, granted, but it’s worth reiterating- if you’re drawing something new, it’s worth doing some studies.  You discover things that you wouldn’t otherwise by just staring at them.  It’s weird how I’m still learning this- “Gee golly, six-shooters are way easier to draw now that I’ve drawn a ton of them!” Yes wow Claire BRILLIANT.  Gold star.
  4. go for the gold.  Finally, I’m sure it goes without saying, you integrate all of that research and knowledge into your initial thumbnails.  If you learned something about anatomy, or fashion, or color, or butts, now you can drastically improve your original idea with this newfound knowledge.  Also, per the images above, this is also your chance to improve on the reference- photos are a fantastic tool, but trust your instincts.  Cameras can’t make informed decisions.

…So that’s my soapbox- it’s pretty easy, and it’s totally worth it.  Research and reference lets you stand on the shoulders of giants- it lends legitimacy, specificity, and allure to your work that wouldn’t be there if you were just drawing out of your head 100% of the time.  To put it simply- it makes your work ownable.  It makes you stand out.

It makes you a better artist. :)

-C

thefrogman:

I sneak things into my mom’s nativity scene every year. 

jinglebean:

rp-photography:

horses-are-love:

And that ladies is why secrateriat is boss

Not only that, but Secretariat utilized something called a double-suspension transverse gallop that allowed him to carry sprint speed over distances of more than half a mile. In a normal, single-suspension transverse gallop there is only one moment where all four hooves leave the ground

in a double-suspension transverse gallop there are two

Secretariat had a stride longer than any other horse, but he also ran elastically, and was able to develop an extraordinary amount of downward-and-backward thrust, thus achieving double-suspension. He ran straighter and more efficiently than any other horse.  

jinglebean:

rp-photography:

horses-are-love:

And that ladies is why secrateriat is boss

Not only that, but Secretariat utilized something called a double-suspension transverse gallop that allowed him to carry sprint speed over distances of more than half a mile. In a normal, single-suspension transverse gallop there is only one moment where all four hooves leave the ground

image

in a double-suspension transverse gallop there are two

image

Secretariat had a stride longer than any other horse, but he also ran elastically, and was able to develop an extraordinary amount of downward-and-backward thrust, thus achieving double-suspension. He ran straighter and more efficiently than any other horse.  

(via robaemea)

artist-help:

Jack Hamm’s Drawing the Head and Figure- Feet

[x]

(via robaemea)

helioscentrifuge:

THIS HOLE WAS MADE FOR ME

helioscentrifuge:

THIS HOLE WAS MADE FOR ME

(Source: tselentis-arch, via robaemea)

talesfromtheend:

So I found this brand called Verillas and I’m both really glad and totally agonized that it exists. Time to start saving up.

(via robaemea)

i-say-mecro-you-say-mancer:

TINY ROBOTS ON BICYCLES TINY ROBOTS ON BICYCLESTINY ROBOTS ON BICYCLES

i-say-mecro-you-say-mancer:

TINY ROBOTS ON BICYCLES TINY ROBOTS ON BICYCLESTINY ROBOTS ON BICYCLES

(via couldbdangerous)

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