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Costume Designs from Frozen by Brittney Lee

(Source: disneyconceptsandstuff, via art-and-sterf)

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helpyoudraw:

electricalice:

Drawing perspective is considered one of the hardest things in art, except the mistakes usually done are pretty much always the same and can be avoided with a little care.

1. Lines not reaching the vanishing point

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Well this is pretty simple to avoid…

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Quick Color Theory Tutorial

bajillafindshelpfulthings:

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by *pronouncedyou

(via how-to-art)

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harteus:

i’ve had a few people asking me for skin colouring advices, so i decided to just touch upon the subject and show how i generally paint it, without going too much in depth, nor telling you “how to do it!!!” these are just some tips i’ve found useful, and it’s all really simple. 

there are some minor lightning differences in the faces, but none of them are especially hard to work out, it’s mostly very straight-forward lightning. colour of course works differently in different settings, so this is just super simplified.

i hope i was able to help somewhat! i still feel so strange offering art advices, because i know i’m in need of those too.

(via art-and-sterf)

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harvestheart:

thestylishgypsy:

Kay Nielsen - 1886 - 1957

HH:  Always liked this style - 

harvestheart:

thestylishgypsy:

Kay Nielsen - 1886 - 1957

HH:  Always liked this style - 

(Source: belaquadros, via quillery)

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samswritingtips:

A breakdown of medieval armor, since a lot of pieces are required to create a full suit.

(via anatomicalart)

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pascalcampion:

More awesome tips from Grizandnorm.
grizandnorm:

Tuesday Tips - Gesture DrawingAs a story artist, I feel like one of the most important technical skill to develop is the ability to draw things things clearly and fast. Practicing gesture drawing is, in my opinion, a good way to get better at it. I think it’s fun, too! Of course, you can draw from life and find unique things people and animals do, but I also think practicing gesture drawing from imagination is truly helpful. For instance, I usually do some gesture drawings of characters I’m about to work with in a sequence. It helps me find a short-hand to start building from. The simpler, the better. Especially early on a project, it really helps to find a quick way to draw a character over and over without repeating yourself all the time.I remember Life Drawing teachers telling me to “draw from within” and to “feel the weight”. It’s absolutely true, but in terms of storyboarding, other elements came to be as important to the process. Silhouette and a sense of “cartooning” is tremendously helpful to communicate certain things clearly to an audience.I’m only focusing on character posing right now (and this is just an introduction to the subject). Gesture drawing is very close to thumb-nailing, another ultra-helpful skill. More on that later.For those who want to spend some money on great books on the subject, I highly recommend you to pick up “Drawn To Life: 20 Golden Years of Master Classes of Disney Master Classes” (Vol. 1 and 2) , from Walt Stanchfield. Do it.Norm

pascalcampion:

More awesome tips from Grizandnorm.

grizandnorm:

Tuesday Tips - Gesture Drawing

As a story artist, I feel like one of the most important technical skill to develop is the ability to draw things things clearly and fast. Practicing 
gesture drawing is, in my opinion, a good way to get better at it. I think it’s fun, too! Of course, you can draw from life and find unique things people and animals do, but I also think practicing gesture drawing from imagination is truly helpful. For instance, I usually do some gesture drawings of characters I’m about to work with in a sequence. It helps me find a short-hand to start building from. The simpler, the better. Especially early on a project, it really helps to find a quick way to draw a character over and over without repeating yourself all the time.

I remember Life Drawing teachers telling me to “draw from within” and to “feel the weight”. It’s absolutely true, but in terms of storyboarding, other elements came to be as important to the process. Silhouette and a sense of “cartooning” is tremendously helpful to communicate certain things clearly to an audience.

I’m only focusing on character posing right now (and this is just an introduction to the subject). Gesture drawing is very close to thumb-nailing, another ultra-helpful skill. More on that later.

For those who want to spend some money on great books on the subject, I highly recommend you to pick up “Drawn To Life: 20 Golden Years of Master Classes of Disney Master Classes” (Vol. 1 and 2) , from Walt Stanchfield. Do it.

Norm

(via help-me-draw)

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lexxercise:

I’ve been getting a lot of asks lately about the brushes and textures I use in my work, so here’s a BIG FAT REFERENCE POST for those of you who were curious! Bear in mind that I’m really lazy and don’t know what half the settings do, so don’t be afraid to experiment to figure out what works best for you :>

BRUSHES

Pencil

I use the pencil tool with SAI’s native paper texture both for sketching and for applying opaque color with no blending. Lower opacities give it the feel of different pencil hardnesses, while full opacity makes it more like a palette knife, laying down hard-edged, heavy color for detail work or eventual blending with other brushes.

Ink Pen

Mostly made this because I’m lazy and I didn’t want to have to keep turning my textures off/opacity up when I wanted to ink something (even though I don’t do it very often), or lay down flat colors. I find the line quality to be much more crisp than Photoshop, and you can manually adjust in-program stabilization to help smooth out hand wobbles.

Round Brush

The plain ol’ brush tool acts as sort of an in-between for me in terms of brush flow. It’s heavier than my usual workhorse brush, for faster color application and rough blending, but not as heavy as the pencil tool, which has no blending at all. I like to use the canvas texture on this brush to help break up the unnatural smoothness that usually accompanies digital brushes, but it works just fine without.

Flat Brush

A brush tool set to flat bristle is by far my favorite to paint with. I don’t use any textures with it because I think the shape of the brush provides enough of that by itself. I use it for everything from rough washes to more refined shaping and polish. It’s just GREAT.

Watercolor

Best used for smooth blending, washes, gradients, and smoky atmospheric effects.

Cloud

Basically a grittier version of the watercolor tool, because too much smoothness weird me out. Good for clouds and fog, as the name suggests, or just less boring gradient fills.

TEXTURE OVERLAY

To further stave off the artificially smooth look of digital painting, I almost always overlay some sort of paper texture, and it’s almost always this one, which I scanned and edited myself. You’re all welcome to use it, no permission required!

Using overlays in SAI is just as easy as using them in Photoshop. Just paste the texture into its own layer above everything you want it to apply to, and change the layer mode to Overlay. That’s it!

Want a more prominent texture? Up the contrast. Something more subtle? Lower the contrast or reduce the layer opacity. You can also use a tinted overlay to adjust the overall palette and bring a little more color unity to an otherwise disparate piece! Just be aware that too much texture can hurt the readability of the work beneath it, so I’d err on the side of subtlety.

Hope that helps!

-L

(via thecandyjar)

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fadeintocase:

naughtyornicechekov:

amandaonwriting:

Suggestions for changing paragraphs

Oh my FuckinDo you realize how annoying it is when you don’t switch paragraphs when a new character is speakingDo you realize how confusing it isI don’t care if they’re using one-word responses at each other, start a new damn paragraph. ESPECIALLY IF YOU HAVE MORE THAN ONE CHARACTER.

dear christ this.no more walls of text please. please.

fadeintocase:

naughtyornicechekov:

amandaonwriting:

Suggestions for changing paragraphs

Oh my Fuckin
Do you realize how annoying it is when you don’t switch paragraphs when a new character is speaking
Do you realize how confusing it is
I don’t care if they’re using one-word responses at each other, start a new damn paragraph.
ESPECIALLY IF YOU HAVE MORE THAN ONE CHARACTER.

dear christ this.
no more walls of text please. please.

(via art-and-sterf)