No.13897 [Last50 Posts]
Last thread is autosaging edition.
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No.13898
Reposting from the other thread
I was sorting through my drawing related pics and found these.
It makes a good argument about using vectors, but is there any program where you can draw freehand and it translated that into vectors?
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No.13901
>>13898
I'd bet most vectoring programs like inkscape have a freehand tool.
Wasn't there an "infinite canvas/infinite zoom" sketching program that worked using vectors, too?
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No.13970
>>13898
Affinity Designer can do that. You can mix raster and vector together too.
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No.13971
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No.13990
Does this look dark brown to anyone?
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No.13991
>>13990
I guess I can kinda see the warmness of the brown in that dark, but I'm not sure I'd have guessed if you hadn't mentioned the color - it's that dark.
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No.13992
>>13990
Seems really saturated, the strong contrast is hard to read as any color other than black. If you're experimenting with color consider color picking a picture you like and messing with it (primarily places that look like they haven't been blended with other colors)
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No.13993
>>13990
On 8chan it looks almost black at first glance, but if you put it on a black background the brown becomes really obvious.
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No.14068
Should as beginner start with pen&paper or move immediatelz to tablet<
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No.14071
>>14068
It's better to just start drawing at all rather than contemplating which tool you'll use.
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No.14074
>>14068
You will be extremely disappointed with digital even if you know how to draw.
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No.14129
HOW THE FUCK DO I PAINT LANDSCAPES WITH GRASS WITHOUT CUSTOM BRUSHES? END ME
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No.14130
How do I get good/clean scans of drawings? Every time I try scanning something, imperfections I didn't see before show up especially when scanning inked drawings.
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No.14131
>>14129
Paint a couple tufts of grass in strategic locations and the eye will see the whole area as grass. >:]
>>14130
Welcome to hell, buddy. How much adjusting does the software your using let you do?
Scan in grayscale unless you used blue/red leads in the underdrawing. If there’s an ‘auto-tone’ feature, turn that off. Backlight correction can be left on. But this is what works for me with my set-up. You might need to experiment by scanning the same image in with different settings and see what works best.
Then drag it into you image software of choice™ and use a levels adjustment to drop out the pencil and smudges or whatever.
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No.14138
YouTube embed. Click thumbnail to play.
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No.14141
>>14138
I kinda wanted to see that in color. I've tried doing like that but it looks somewhat wrong.
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No.14156
What a manga/anime character's head is supposed to look like is driving me crazy. I figured if I looked at manga I'd be able to see the same characters drawn consistently from different angles, but it looks to me like it's not very consistent at all, like how far the cheek sticks out and the location of the chin for example. It makes it very hard for me to imagine the skull.
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No.14191
>Have amazing idea for drawing that I can actually visualize to an extent
>Second it's being drawn, ideas fade in and out, finer details are lost and quality begins to fade, but it's still there to an extent
How do I make my visualizations last longer and retain better detail as I draw them?
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No.14195
>>14191
Write down or quickly sketch out the details before starting on the drawing.
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No.14198
>>14191
Thumbnail sketches and roughing in the drawing as a whole before going into details. Doing this will allow you to retain what does work and adjust what doesn't before your already in to deep and frustration sets in. I failed to do this for a long time and only recently started. My quality has gone up and I have much less anxiety now. It really is all in the planning and construction.
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No.14199
Guides for drawing human anatomy?
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No.14218
>>14199
Proko's free videos on youtube
Anatomy for Artists (Stephen Rogers Peck)
Strength Training Anatomy (A. Frenchman)
Figure drawing in general is covered well by the usual subjects but I've found many books for artists are a little lacking when it comes to anatomy specifically
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No.14227
How the fuck do I learn people?
I've been trying to learn anatomy and shit, but all that's done is make me see how much I'm fucking up, but not how to fix it.
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No.14256
When is it ok to sign your art without looking like a faggot?
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No.14258
>>14256
When you're able to draw like the Greats™ (I'm never signing mine)
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No.14264
>>14256
I always sign my art unless it's a sketchy doodle or memery. I didn't realize this made me look like a faggot.
I do regularly scrub my sig from uploads here, out of habit and respect for non-shilling, but I don't think it's necessary.
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No.14269
>>14256
I don't sign mine, I just date it when I'm done with it so I can look back in a few years if I'm still drawing to see how far I've come (or not)
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No.14272
>>14256
it only looks like a faggot if its a picture of the image with your fucking pencil or copics on the page. i only sign finished pieces and use a small stamp-like logo/sign in corner or open space.
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No.14457
>>13897
Can somebody explain Loomis' procedure here?
I know it's for life drawing, but I don't understand the wording very well. I'm not a native english speaker.
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No.14458
>>14457
Just hold your arm forward with the pen in a 90 degree angle. What you want to do is keep the pen as straight as possible and use it as a sort of ruler.
Your're going to look at the figure you want to draw (1) and find the middle point, next you're going to make a rectangle that fits the figure in (2) and use that middle point as a reference (3), then you can subdivide it further to make the figure more precise or just go with it using the lines as references (4).
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No.14459
How do I into shading? I mean, the physical act of moving your pencil to get proper shades.
Every time I try, I get dark smudgy patches, but I don't know *how* to practice properly.
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No.14460
>>14256
I don't sign but I put the date on any drawing or even sketch that I feel can serve as a "Check how bad I was back in the day" type of picture.
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No.14461
>>14459
try holding your pencil loosely at the bottom sweeping lightly side to side as you move your hand downward. Except don't do it shitty like this, do it good. Go for an even light tone. You just want the tip resting on the paper. To make it darker don't use more pressure, keep going over it and build up the graphite in layers. It's worth practicing because if you get it down it looks slick.
Keep your pencil sharp too, best is to do it with a knife and sandpaper. Look up "pencil value chart" and it might give you a better idea what I'm talking about.
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No.14467
Hello everyone, I kind simply just want peoples opinions on how this looks I spent 3 long days now, trying to make it look good and I refuse to give up on, cause well frankly I like it and I want to make it better.
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No.14468
>>14459
You can buy tortillion/smudging/blending tools, use your finger or use a q tip to get shading.
First you want to get the absolute lightest line you can do. Then smudge/blend it to get rid of the line-looking fill. The you do another layer over it and repeat until happy with how dark. To get gradient to the shade, you "push" the graphite to the edge with your blending tool.
Starting out, limit yourself to 3 shades - your darkest pencil push, a midtone and a very faint tone. Plus unshaded white of course. This will help you identify different levels of shadow/tones in the image. Move up to 4 or 5 after that becomes too easy. Creating a gradient with pencils helps. If you ha e multiple lead types, you can simple do hardest 4b, hb and 4h and you will have 3 identifiable tones if you want easy mode training wheels before moving to single lead gradient.
The eye is good for this type of practice. Darkest is eye lash and pupil plus the little lines through the iris. The iris is usually white highlight and 2 midtones - the lighter 'color' part and the eyelid casts a shadow over the upper half of the eye, so a second darker midtone that blends down into the lighter one.
If you like anime, they do 2 to 3 gradient tones for their shadows and rendering. Dragonball fighterz has some excellent in gaming cellshade looking images with perfect shadows to start with if you want easy references.
For realistic things, the limited gradient will help identify highlights and couple midtones. As you work on blending, it becomes easier to push the tones out of darker areas to get more realistic looking ranges. The main thing is usong blending tools to smooth and push the graphite and do several layers of shading the same area. Build up tone. You can even scribble on a scrap and smudge the graphite with blending tool similar to getting paint or ink on a brush and apply the blender directly to blank paper.
Qtips, tissue paper, fingers, tortillions, etc all help with this. Find what works with you. Also, shave pencil down so like half an inch of graphite is exposed with no wood around it. Hold 3/4 up shaft and lightly shade. Lead holders are nice for this. Mechanical pencils can work too with practice. Layer your tones and blend.
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No.14469
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No.14470
>>14467
Looks like fucking shit mate, maybe go create a few 1000 heads before spending 3 days on your magnum opus. A picture like that should take two minutes.
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No.14471
>>14470
Well, since that's the case why not explain what's wrong with it, and what I could do to improve it, please refaine from saying it's shit, that Literally tells me nothing, and really it just hurts your actual criticism, and makes seem like you really don't know what your talking about, and then it just makes you seem like a bitter asshole who has nothing really to say. You can't use a prase like that, art isn't dark souls, you can't just "git good" at art without being able to follow the path. And before you say. "Hur dur read a art book" I could've literally don that all on my own without you even saying anything, which makes your comment have even less worth. Please next time think before you post, because helps others when you do, also helps reduce pointless space for you to say basiclly nothing.
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No.14472
>>14471
The lines aren't straight, there's no sense of form, the ears are in different angles, mug shots are boring, no hair growing anywhere else but the front of her head, there's hair growing on the hair.
And here's how you fix it. Go read the sticky, create 1000 heads in 3 days, rather than 1.
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No.14473
>>14472
See, was that so hard to say, thank you, all that tells me everything I needed, it was never ment to be a mug shot by the way, I was going to add a body, but spending all this effort on one has comepetely exhausted me, some questions before I go off, one, what do you mean the sticky, two, what exactly do you mean by like heads, like how much detail should I give them. 3, more of a request than a ask, I need to find a group I find more artist I can learn form, loomis is far to slow to get consestent feedback from, do you know of any I could go to, or hell maybe a way to just contact you as you clearly know more than others I've talk to, which says a lot actually, considering I actually hang around a drawpile with other loomis anons and even they never pointed out these things.
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No.14474
>>14473
Give me the loomis drawpile.
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No.14475
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No.14476
>>14474
Well someone beat me too it. hahaha.
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No.14478
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No.14479
>>14478
You need drawpile to use it.
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No.14480
>>14473
As a fellow total beginner, I'd like to offer you some advice, for what it's worth. A sticky is the first post on the front page since it's been sticky'd there. About heads, detail is not the important part but to try to get the three-dimensional shape of the head projected on the page. This is a thing I personally am struggling on. Draw faces from different angles and try to get an idea of what shape a human head is. A mirror helps since it's a safe assumption that you also have a face. At first I think that just drawing the shape of the head with just the centerline and the eyeline is ok. After that come the facial structures and how they appear from different angles.
For criticism, I'm not much to talk since I've never posted my doodles to /loomis. I guess the practice thread here will give constructive criticism if you show the proper attitude to learn. Or the drawthread of your favourite niche board.
First and foremost the thing is to draw, don't spend three days on a single doodle. Fiddling with details is not going to teach you much if the base shapes of what you're drawing are off.
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No.14503
>>14480
only problem with a mirror is everyone I draw looks like me now
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No.14506
Has this been leaked yet?
Looking at the vids, this one has a lot about drawing from life.
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No.14511
>>14506
>I'd love to draw!
Stop taunting us, Andrew!
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No.14528
>>14461
>>14468
Thank you, lads.
Sadly I only have HB pencils but that's not an excuse to at least get ingrained some of the principles.
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No.14529
Yo, any tips on drawing the same dude again and again and have it look the same?
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No.14547
>>14506
I have a hard copy, it's pretty short and doesn't have much that he hasn't covered in other books I'm pretty sure-but admittedly I just skimmed through it.
>>14529
Familiarize yourself with the observational measurement techniques. Plumb lines, negative/positive space and comparative measurement and practice. It's the only way.
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No.14560
What kind of brush do you use to get that fire silhouette? It kind of looks like paint in the non-colored version
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No.14561
> MFW (pic related)
I was at a painting class today. And this morbidly obese girl (who admitted publicly to being a furry) starts talking about how she thinks Orange man is bad because she watched a show by Seth Mcfarlan called Orville and Drumph wanted to make a Space Force. Everyone in the class humored her and a few virtue signaled there support of her plebeian take on American Politics.
Why does art attract insufferable people?
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No.14562
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No.14563
>>13898
>PNG
they are both raster. If it was a .pdf, .ai, .eps then it could be a Vector. But vector art is mathematically drawn based on points and curves so it can be scaled to any size and maintain its integrity.
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No.14564
>>14560
The non-color version has no value changes; looks like it could be fire, could be blood. One thing you could try apart from that is to add a little gaussian blur. I don't know though tbh heh
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No.14565
What's good animation software for a beginner to start learning? Also are there any open-source programs that are good?
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No.14566
>>14565
Krita is pretty good.
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No.14570
>>14565
Krita is not only good but it's easily the most user-friendly animation program out there (though Adobe Flash/Animate is about as useable, its brush is dog shit) I've used. I have ToonBoom which I paid I think somewhere around $1,000 for and logistically it's a absolute mess. OpenToons has a steep learning curve as well. ToonBoom is the current production standard and is worth learning, but in the meantime Krita is phenomenal for practicing the basics.
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No.14591
>>14564
>>14560
>re: values
it also may have to do with the way they decolonized the image in photoshop. For example this is the same image in gray-scale using three different methods and as you can see the results very.
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No.14602
Didn't know where to put this but clip studio paint pro is on sale, $25 till June 25th.
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No.14605
fuck it, i'm caving in beacuse i need money:
best sites to post your porn? i'll be making a base image to attract people and open a patreon.
I already have HentaiFoundry, DA, newgrounds and twitter. Any other places?
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No.14606
>>14605
I know people who do hentai shit.
Hentai Foundry is valuable, if you're any good at all it's not hard to get on the "featured" page and rack up followers quickly. I have no experience with DA, it's a highly saturated market, no idea if it helps. Twitter seems to be useful but I see a lot of people ignored on it. You need to offer something good if you want a patreon instead of just doing commission work. If you're in the top 10-5% of hentai art in terms of quality, offering alternative versions is enough, if you're not, you'll have to find something more to attract people with. If you do rule34 stuff people will take your art and upload it on sites dedicated to it for you (if it's of any quality)
There's a lot of business for commissions in discord groups. Everything from hentai game development groups (a lot of consistent work) to just normal hentai themed groups where normies look for commissions. Once you find one, ask people if they can suggest more and you should be able to find a few good ones where you can post your art and get commissions relatively quickly.
Make something to show basically an example of different types of pics with a price tag and feature a link to that image on all your websites and shit. People don't like having to contact you in order to know exactly what ballpark the price will be in.Produce stuff consistently and make people remember you. People who suck at hentai art like Sparrow still get tons of commissions because he produces a lot of shit consistently. Also, use reference and save yourself as much time as you can. Quality is important but try not to spend forever on a pic that isn't a commission. Make yourself very easy to get ahold of and don't have some kind of big barrier between yourself and people who are interested in what you do (like normie artists often do).
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No.14608
>>14606
Good to read. It's basically what i'm doing and plan to do at the moment. I also forgot to add pixiv as a site to post stuff, but that' it. I'm asking since i can't wrap my mind on how shit artist like shiin and rtenzo can get so much money by recycling their poorly drawn characters, while good artsts, who still put out content daily, barely reach 100$.
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No.14623
Am I retarded? Whenever I look into images like the pic, I feel it's very "professional" but still looks easy to do. The thing is, years pass and I don't see myself getting any closer than doing shit that feels that way.
I've been thinking and maybe it has to do with design? I don't know, I've been practicing the way tradicional artists always tells me to, and it feels like it's not helping me do any "beautiful" stuff. Is there any design fundamentals I must see around? Like peter han stuff. I'm dying.
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No.14625
>>14623
Anime = symbol drawn face scientifically proven to appeal to subconscious, primal instincts, simplified but extremely accurate anatomy/drapery and also very importantly (((color))). It's not easy to do at all, it's a variety of extremely nuanced skills, some objective, some more subjective and intuitive, but all combined into one perfect conceptual ideation.
Cartoons and anime are the most sophisticated and complex art form that mankind has and will ever conceive, if you haven't "made it" yet don't be discouraged; you're trying to acquire a skill that is far more difficult than becoming a high-powered lawyer or surgeon would be without the 8 years of subsidized formal education they receive in order to ply their mediocre trades.
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No.14626
>>14625
lol source for any of that?
>>14623
A general tendency is a lot of people's art is that they overestimate small differences and underestimate large differences. So for example, people often overestimate how much half-tone variation there is in any given place and while they do that, they underestimate the larger value differences like light and shadow. So what happens is that people's natural tendency is to over-complicate the values and they loose all structure when doing so. Same thing goes for drawing in general. People neglect the big differences in the parts of the body and often overestimate small differences. So you have a picture with a lot of details but bad proportions.
Very simplified work puts pressure on the existing information and if these big differences are done well, it looks good without the need for much detail to support it. The error people make is to add more information rather than correct and re-organise the simple information to look good on its own.
Generally the traditional approaches focus much more on making something look correct than a lot of modern approaches. Like if you're doing a bunch of lines to practice "confidence" or something or you practice making a bunch of blocks or forms with rapping lines, that's modernist stuff, not something traditional. There aren't a lot of easily accessible introductions to very traditional techniques. Stuff like Bargue is just incomprehensible without a knowledgeable instructor to help you and give critiques every day (you know someone has actually done the Bargue stuff when the only way you can tell the difference between the drawing and the original is by the color and grain of the paper, but that's just a tangent).
The best books I've found on more traditional approaches are the books by Harold Speed and Solomon J. Solomon. There are some others like the books by John Collier and Kenyon Cox but they're more for oil painters and those who are very interested in some specifics. Collier doesn't even address drawing, only painting.
Show your stuff if you want to talk about it in that context and maybe there's something we can do to help.
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No.14627
>>14625
I don't know about that "most difficult" thing, but it feels foreign to me.
>>14626
Last thing I finished here.
>Very simplified work puts pressure on the existing information and if these big differences are done well, it looks good without the need for much detail to support it.
So the deal is to try to simplify the most I can just to practice these more big relations? It feels wrong to me when I try to simplify things, idk why.
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No.14628
>>14627
>>14626
The hyperbole was meant to be a little obvious but ultimately I just mean that appeal, design and all that are quite a handful to learn on their own.
>>14627
I think it's safer to show a little bit of the forearm/crease of the elbow when you have a hand coming towards the viewer like that. It also lends a dynamism to the pose to not have the arm just pointing straight on. In this character's case her broad shoulders, strong jaw and smol breasts make her pretty androgynous. Note that when someone is looking down like that their ears, which are located at the central pivot of the skull, will appear higher relative to the other features than normal. The tilt is subtle here, but nonetheless the visible ear is going in the wrong direction.
I also see you have a similar problem I do with hands where the fingers are made squared off a bit more severely than they ought to be-especially in a female character. It's really not all that bad but you do have some fundamentals that need tightening up-as do we all; keep it up fella
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No.14629
>>14628
I'm wondering, is trying to fix it up better than just moving on with those points in mind? Now that I think of, I've never stopped to fix my things and just tossed it into the bin and tried again.
I also feel there is something bigger that I'm lacking.
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No.14634
Trying to develop my lineart. Looking to get that inkbrush sort of look, how am I doing? What can I do better? For any software specific tips, I'm using Clip Studio Paint.
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No.14638
>https://www.youtube.com/watch?v=-Nt9fa8jZUE
Just saw vid related and the guy talks about not using pressure based size, but he's also just painting the whole video. Should I disable it for line art?
I just leave it on to try and force myself to learn to deal with it and have a conscious control of the pen pressure, but my stuff does look like shit so I don't know how I should go about it.
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No.14645
>>14638
All this stuff depends on preference. When Sinix says stuff like "when learning to paint, throw away soft edged brushes" he's just talking out of his ass. I'm not gonna listen beyond that point. I guess the conventional advice from almost all artists between 1500-1920 were just stupid for suggesting that people keep their edges soft… He's making things up based on personal experience and a huge ignorance of the great diversity of approaches and techniques throughout art's long history. It's personal preference, do whatever works for you.
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No.14646
>>14634
**Disclaimer, these are just redrawn manga excerpts I did, so don't take it for my actual skill.*"
I'd personally experiment with line width a bit more. I found it creates a more "pronounced" picture. How I do it is 2x base - outline, 1x base - depth differences (like say and arm before the stomach, hair before the face, etc), and 0.7-0.5x base - details, but that's just how I do it. Still I'd say try experimenting with lineweight a bit. Since lines are all you will be using, you want to convey as much as you can with them.
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No.14655
>>14634
>>14646
Good copies anon, I guess all there is really to keep in mind is how significant a small and subtle mark can be to the end result. Vilppu when drawing a feature on the face of a figure emphasized how amazing it is that quarter-centimeter mark could be enough to effectively suggest a mouth or a nose etc. and that can obviously translate to stylized linework.
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No.14696
I'm having a lot of trouble drawing from the shoulder when I'm using my pen tablet. How could I solve this? Should I draw a buch of lines and circles using my tablet?
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No.14705
>>14696
Why is that? Too small a tablet? What is the problem exactly?
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No.14707
>>14705
I'm not sure. I just have a lot of problems drawing from the shoulder when I'm using my tablet, which is kind of weird since I don't have any problem when I draw traditionally.
>Too small a tablet?
Well, I have a Genius MousePen 8x6. Do you think it's too small? No innuendo intended.
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No.14708
>>14707
Fuck, dude, that shit is for ants. If you can draw normally on paper then just tough it up until you can get a bigger one, you can practice the bigger lines then.
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No.14712
I apologize in advance if this is a stupid question. I'd like to animate some stuff in my free time (Western style, if that makes any difference). Should I jump straight into animation even with my very limited skills, and try to improve them along the way, or start from life drawing like if I was trying to become a painter? How do you know when you're good enough to give animation a try? Thanks.
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No.14715
>>14712
While they're related, they are different disciplines and can be studied in semi-isolation. You're going to need to know both, but you can practice timing and spacing and so on right away. Look up "AMB animation academy" on facebook and youtube.
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No.14758
Anyone know what is done to get the shading on the cape, buildings behind/below Superman, the bottom half the wrecking ball, etc? Is it as simple as it seems and just 'color in' the area with a 2B or HB pencil? I can see lines and directionality at times - are these all just for spotting blacks when inking and line weight/stroke size/etc dont matter?
Example - the wrecking ball at top has slightly darker line weights for the shaded in area near the gradient/hatching lines. On an inked piece, this is all going to be black, so I assume its just random shading and didnt care about his line weight, but you can clearly see different shading for parts of the bottom half of that area with distinct line directions.
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No.14759
>>14758
When shading smoothly with a pencil you generally want all the strokes go in the same direction, following the contour of what's being shaded. Random scribbling leaves lots of little gaps everywhere and going back and forth makes things streaky and jagged. But doing this perfectly takes a ton of time and effort, so i doubt the artist was all that concerned about smoothness if this is just a sketch to be filled in black later.
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No.14768
>>14758
Just hold the pencil at a low angle and use the side of the lead. That's all going to be spot black on the finished piece. Some pencillers do that to make sure it looks right; others just mark it with exes.
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No.14774
Does anyone know of any good "website blockers" that temporarily block off sites so you can concentrate? I tried Cold Turkey because everyone recommended it. It didn't work on my browser (which was Firefox at the time on a Window's computer), worse still is that I can't uninstall it for some reason.
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No.14777
>>14774
Website blockers, won't work. You'll just disable them, or download another. Cut off all entertainment that disables your ability to think freely, because thinking, is what enables your brain to start thinking about drawing.
And taking high doses of dopamine from watching videos or playings, will make your brain want to consume more dopamine, like a drug.
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No.14831
Anyone here use markers to color on traditional media? How easy/costly are to use? I've only ever colored in digital and I saw some Sharpies in a store so I'm wondering whether I should buy some or not.
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No.14832
>>14831
I bought a bunch of markers because I like Brianne Drouhard's shit but I suck with them and I'm not going to try and get better; I'm a digital only nigga now and I only use traditional to do anatomy studies and other utilitarian practice-type stuff.
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No.14834
>>14831
I think you'll find sharpies to be unsatisfactory & alcohol based markers for illustration work are expensive.
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No.14840
Good (paypal) alternatives to patreon?
I wish i could move everyone to librepay, but i know people just want rewards and shit instead of supporting artists.
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No.14841
>>14840
Jordan Peterson is going to launch a Patreon alternative this autumn. It'll be called Thinkspot.
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No.14842
>>14840
>>14841
Look into the Brave browser and the Basic Attention Token as an alternative revenue source
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No.14844
>>14842
I know about the Brave browser, but I can't install it because it's not available for x32 Linux systems.
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No.14845
>>14842
>crypto
how about real money?
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No.14846
>>14842
What kind of advice is that? shut up if you don't know shit, instead of shilling
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No.14852
>>14845
>real money
No such thing, just ask the Vuvuzelazuelans. If it's good enough for based gay lord Peter Thiel it's good enough for me tbh. Even the (admittedly dubious) Stefan Baldyneux is verified and more people and companies are coming on board all the time. It's a painless and relatively straightforward process to accept/earn it through normal web activity.
>>14846
>advice
That's a "suggestion", no need to follow through if you don't want-or respond in such an unnecessarily butthurt way-but it's an easily adoptable alternative you can add to an art twitter account, youtube, r-ddit username etc.
https://youtu.be/xAuPpNjxApo
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No.14939
So I got a new wacom pen a few months ago, the "pro pen" thingy. Works great… however. I've noticed this thing with it where in the morning it works great, it can make very light marks, feels very smoothly in the low pressure are. Then I use it for a day and by the end, it doesn't give me those light marks anymore. What happens is that it does that kind of jump where as soon as I touch the tablet with the pen, it jumps to like 10% instead of starting at 1% pressure like it did earlier in the day. So I'm wondering if anyone has experience with this issue?
I know I can always adjust it in the settings however the inconsistency bothers me. I'm wondering if there could be some dirt or something stuck near the sensor causing issues. When I try to change the nibs and lightly blow in it, it becomes hyper sensitive and I'd have to leave it alone for an hour and I come back and it works normally again, really weird. I'd like to open it up and do an internal cleaning of the pen however the Pro Pen is stuck together way harder than the older pens and I'd be worried about breaking it.
Any advice would be appreciated. For now I'll use my old pens that are more consistent.
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No.14963
Apologies, but I've been wondering something. If I want to draw comics with pen and paper, what kind of pen/ink should I be looking for. I've been sticking to #2 HB pencils, sketch paper, and a medium point felt pen for the inking process. I feel like the comics don't look as good when I add the ink. Is there something else I should be using or is this something that can be resolved with more practice with what I've got?
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No.14964
>>14963
For pens it depends on how you wish to go about it. felt tip pens are easy to use, but dip pens are more economical (it's just cheaper all around) in the long run with the trade off being a need for technical mastery. I use metal nibs because I can get finer lines than can be reproduced with a felt tip micron or staedler (the smallest of which go to .20mm) but it did take me a long time to get good at using them.
Some people even use fountain pens but I believe those are pretty high maintainance, I don't have any experience with those.
Whatever type of pen you choose to use, just choose what you think is best and most comfortable. Either way you can make good looking art with enough skill and experience.
For inks if you choose to use metal nibs, I favor pilot ink. there's a good reason it's a staple choice among artists. However, typical pilot ink is not water resistant so you have to be careful if you're going to do any coloring over it. But I find it's best for normal work. You may want to experiment with other inks as they can come in varying qualities. Stay away from speedball.
With metal nibs, copy paper or any thin paper will tear and bleed through and you will have a hard time. I use B4 size Deleter paper, which is about 8.5x12 inches and that's pretty big. There are smaller size comic papers around like B5, that's a little bigger than standard copy paper.
Traditional art is a world all of it's own and a lot of thought has to go into drawing on paper and how to go about it. Worth exploring for people with a deep interest rooted in drawing comics (and a true love for art) and don't just see it as a means to an end.
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No.14965
>>14963
For professional comic work, you want heavy bristol board. 11x17 Strathmore 300 is pretty much the standard. You can get them with the non photo blue guidelines already printed on or blank (you may have wideformat printer and scan plus print onto blank ones).
I use them sparingly. I picked up ream of 11x17 on amazon for cheap. Strathmore are like $20-30 for 24 sheets. 250 pack of accent opaque super smooth was about same price and similar quality. Think its 100 lbs paper. Forget weight/gsm. Its a solid alternative for learning or just as practice paper.
Ink is usually india ink. Speedball is quite popular. Higgins is too watery for me. Winsor & newton is another. Main thing is archival quality water proof permanent pure black. Also, pick up bombay white (only need couple ounces for corrections and odd splatter type effects). I buy speedball in quarts for lot cheaper than the 1 oz bottles. Get one 1oz bottle so you can refill it with the quart to use as ink well.
Inking tools, use winsor and newton series 7 watercolor round brush #2. Stamdard for like 50 years or more. They last forever if you treat it well. Like several years per brush. Have some cheap or used brushes for dry brush effects and other effects that brush tip quality doesnt matter. I use a gpen and nibs for hatching. Standard is a hunt 102 or similar. Masters soap/cleaner for brushes. Little rubbing alcohol for nibs. Piece of old denim for wiping nibs on so ink doesnt clump on ink well of nib.
For technical work, i started with sakura pigma microns and moved onto rotring isographs that i can fill the cartridges with india ink. 3 different sizes are more than enough. Kohinor and others make them too. No set standard for these. Preference mostly. Use them for tiny details, ellipses, ruler work sometimes, etc.
Pencils are usually laid in with 2.0mm lead holder with 2b or hb lead. Some use 5.6mm for 11x17 canvas sizes (jim lee specifically uses 5.6 a lot, most use 2.0 mm though). These are usially dull/not sharpened to fine tip to keep pencils light and easy to erase for roughinh our shapes, etc. Detail work is preference, but 0.5 is used a lot. I have 1 x 0.3mm, 4x 0.5mm and 2x 0.7mm mechanical pencils. I have mix of rotring and staedtler. Rotring is highest quality. Specifically rotring 600s. Hexagon body, excellent weight and indestructible build quality. People in architecture use them all the time and have some that are 20+ years old from older models that still like new. Staedtler is a middle of road quality. You want the jpn models of the 925 series if you go with them. Us versions are plastic body. Pentel is very popular and used by most comic artists i know. Similar to staedtler in middle of cost to quality.
You want a mechanical pencil with the metal tip for use with drafting tools (tsquare, ruler, triangle, french curves, etc) so it extends past the beval and consistent.
Hb is mostly what artists do li ework with since ink and colors will handle the rendering and values from other leads wont matter. I have multiple mechanical pencils of different sizes for other work that benefits from havong a 4b, 4h, 2b, etc pencil on hand.
If getting any, a simple 0.5mm with ain stein hb lead is what you want. Cheaper leads break nonstop. Get pentel ein stein. A 2.0 mm is nice on bigger paper sizes. Sharpen it if you want to do detailed work. Need special sharpener or knife to do it.
Better paper will give better lines and make inking significantly nicer. The bristol mentioned holds graphite better and multiple passes will give smoother gradients and hold more graphite than pri ter papers, etc. Ink will go on smooth and hold better with deeper blacks on this paper. Its possible to do it on other paper and this won't make you a better artist, but the difference is noticeable the instant you start using the super smooth bristol.
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No.14979
>>14646
This is what my stuff is starting to look like after giving it a slightly thicker brush for the outer lines (20 vs the interior lines 15). Any better?
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No.14984
>>14979
The dino looks cool and the altering line weights are nice. Something about the relation of the character's neck and body seems off though. I think the jacket is creating tangents and things are getting lost in translation, for one thing.
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No.15000
Are there any (((Patreon))) alternatives that allow adult content and make it easy for people to donate? Or would it be easier to just have a blog or website where I post art with a donation button?
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No.15001
>>15000
Have a twitter, accept BAT (basicattentiontoken.org) and start a Ko-Fi (ugh, I hate that name) as well. As far as an actual "tiered rewards" system like Patreon I really don't know.
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No.15003
>>15001
>gib corporations your info and we'll give you memecoins that we made
anonymous or not, I'm not touching Brave with a 10 foot pole
why should I take this over regular BTC or XMR
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No.15004
>>15003
>BTC
BTC is a deprecated proof of concept and is literal shit
>paying $37 in transaction fees and waiting two weeks to give a $5 tip
>public ledger
>XMR
I have nothing bad to say about Monero and no good argument against its use other than that it's locked out from being cashed out (afaik) and borderline (((illegal))) which is an admirable trait as far as I'm concerned. Monero is what BTC and just about every other crypto should be, but isn't. That said, good luck getting people to pay you in it and good luck using it if they do. Compared to Monero BAT (and everything else) is gay but it's also the only piece of shit in this goofy gambler's market that has a snowball's chance in hell of larger adoption outside of Libra.
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No.15015
>>14984
I might slim down the neck as it does seem ever so slightly on the thick side. But it looks much better in color
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No.15031
How do i best pin a picture on top of everything else in windows? So that I can have reference picture floating above my drawing program even as I am drawing
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No.15032
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No.15115
I decided to check out a book on human anatomy from my local library to practice drawing people. Pic related is what I attempted after a quick read. I feel dumb but is there anything in particular I should be focusing on for muscle/skeletal structure?
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No.15116
>>15115
Looks like a Metalocalypse character. Stephen Rogers Peck's anatomy for artists is a good start.
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No.15118
>>15116
I'll be sure to check it out. Thank you.
>Metalocalypse character
Yeah, I see it too.
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No.15238
How do I into anatomy?
I know I should learn muscles and bones but my muscles and bones look like shit so I don't end up learning anything.
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No.15239
>>15238
If your muscles and bones studies look like shit then you just aren't drawing from observation well enough yet. You need to tie that down and then move on from that point. Even when you get your observational drawing up there's nothing wrong with "tracing" the pages in books either; by taking the drawing itself mostly out of the equation and just following the observable forms to familiarize yourself with their general appearance and shape and reciting the names you can help speed up the internalization process.
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No.15241
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No.15259
>>13897
>I know I should learn muscles and bones
Probably not at your skill level. You're probably making the same sort of mistake most beginners do. You're trying to learn anatomy too early.
If you look at figure/character drawing books, Vilppu, Hampton, Loomis, etc, they don't start with the bones and muscles. They start getting the form and gesture right at its most basic level. Chances are good you still need to do that. If your sense of form and gesture is good you can fudge the anatomy and have it turn out well, it won't look like shit.
>but knowing anatomy will still help, right?
No, it won't. Anatomy is like shading. If you think you need it to help your drawing it's wrong on the basic level.
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No.15279
Imagine FX mag had a pretty good series of figure drawing articles
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No.15280
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No.15281
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No.15282
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No.15283
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No.15284
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No.15285
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No.15286
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No.15287
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No.15288
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No.15289
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No.15292
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No.15293
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No.15294
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No.15295
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No.15296
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No.15297
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No.15306
I'm just going to make a thread for this stuff-I don't want to flood this thread
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No.15360
>>13897
In Clip Studio Paint, I'm trying to draw a transparent dress like the one in pic related, where it starts of slightly transparent and gradually becomes more transparent towards the bottom of the dress. Can anyone give me some advice?
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No.15361
>>15360
I'm more used to Krita so I don't know if that's a liable idea, but could it be possible to use both a gradient tool and the eraser?
Or erase the dress layer a bit using a huge-sized (the width of your canvas) gaussian soft brush.
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No.15362
>>15360
Lasso and cut out the relevant portions on the dress and paste them into their own layer and lower the opacity very slightly
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No.15363
>>15360
Does CSP have layer masks?
Put the dress on it's own masked layer and drag a gradient across the mask.
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No.15367
>>14774
I use LeechBlock in Firefox. You can have multiple sets of websites and block each set certain days, at specific times and after X minutes of usage. You can also make it so that it doesn't let you access the addons page while the blocking is active so you don't act as a nigger and disable the extension to keep wasting your time masturbating to gyaru trapshota. On top of that, you can whenever you want block a set of websites for a given amount of time, even outside of the previously specified time/days.
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No.15369
>>14777
>>14774
I remember an extension that measured how much time you spent on each website.
I'd spend several hours a day browsing 8chan. Good times
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No.15396
I'm glad this place is back, because I have a question. There's probably an obvious answer, but what's the best way to draw a (mostly) moving subject? I'd like to scribble my dog, but she doesn't sit still long enough for me to really capture her.
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No.15397
>>15396
Draw her thoroughly from many different angles while she's asleep, capture "gesture" of her while she's awake and build on it from what you've learned in your "still life" studies of her when she's napping.
…or you could take a picture of course.
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No.15398
Anyone here makes or knows someone that makes patreon bucks for drawing lewds or small comics like pic related?
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No.15399
>>15398
Art is cute but by god the writing. REEEEEEE!
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No.15400
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No.15409
I am not a drawfag. All I want to do is string together some already existing sprite images into short animations. The images have no background, are of slightly varying size, and not perfectly aligned by default so I need to be able to slide them around a little. What's the best program for this? I've tried using GIMP, Krita, and Blender, but only succeeded with GIMP. It is far from ideal, since the only way I've figured to extend the duration of an individual frame is duplicating it one layer at a time. Here's the idle animation I got from my one success.
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No.15410
>>15409
I've heard Graphics Gale is the go-to for pixel sprites these days but I don't know much about it personally.
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No.15411
Danke. I'll check it out.
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No.15413
>>15410
This has definitely gotten me the fastest simplest results so far. Just load up all the files in order and then save as gif. Bam, animation. It's even easy to set the length of any given frame. I can't seem to figure out how to slide the frames around to properly line them up though, and the play button is always greyed out despite a preview animation playing on the right side of the window just fine. I need to make the feet in place like the butterfly gif so it's just the body moving. I think this is probably exactly what I'm looking for and I'll try tinkering with it a little.
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No.15414
I did it. No transparency, I can slide the images around, enlarge the canvas as needed, adjust the individual frame length, and view a preview.
>>15410
Forgot to mention
>Always running in Jap locale to easily run JP games
>Start Graphics Gale
>Defaults to Japanese
>This is apparently a known issue and there are instructions on the site on how to force it to display in English
Wew.
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No.15415
Even though I went through the trouble here, I'm going to end up using APNG Assembler because making gifs with Graphics Gale causes the sprites to become jagged and lose color.
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No.15416
Who else ended up getting a thing for a specific type of women after drawing them?
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No.15417
>>15416
I've always been attracted to fit girls and repulsed by fat ones so the drawing doesn't have much to do with it-but I guess it's notable that fit people are easier to draw than those who are not.
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No.15418
>>15417
I'm saying that because I'm starting to have a bagel and a yellow fever.
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No.15422
>>15416
I ended up having a thing for skeletons and exposed muscles
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No.15427
>>15409
A bit late, but you can edit the frame duration by adding it in parenthesis at the end of the layer name. Like "layer 1" -> "layer 1 (300ms)". It's a retarded system but gimp isn't known for its simplicity.
>>15416
It gave me a thing for armpits, though maybe it's just Stockholm after how much that entire area is fucking with me.
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No.15428
>>15427
>It gave me a thing for armpits
Normal or hairy?
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No.15443
>>15428
Normal, hairy are shit.
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No.15447
>>15443
I guess I'm the only one who likes women almost all natural.
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No.15461
>>15447
Nah, you ain't.
I'm not into armpits though.
But a bush down there looks more natural, as you said.
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No.15462
>>15461
The only thing I don't like are hairy legs.
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No.15469
>>15462
I'd like them on a monster, I suppose.
Not quite on humans, not that I've ever experienced it, haha. Ha.
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No.15475
how do I use the features in the animation tab of CSP? stuff like the scene number, shot number, and division line in particular
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No.15476
>>15475
I'm not going to lie, I have no idea. Even though I made this in CSP and think it's a good animation program the details have definitely lost on me thus far.
Create Animation Folder > Add Cels and
Animation > Specify Cel > Rename in Order of Timeline (this was important considering it will automatically add cels with confusing retarded names)
…are pretty much all I know. Looks like trial and error are back on the menu, boys!
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No.15489
I'd been drawing for about a year before the time I quit. I started off pretty early, but haven't had any time since I've moved. New school and procrastinating takes up most of my time. From there I felt stagnant. That on top of seeing how many artist are better than me made me wanna quit. I wanna at least try to get back in. It's the best thing I can do. I doubt I could get a regular job. Idk.
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No.15490
>>15489
Tell me about it. Making a twitter account was a fucking mistake. However I'm trying to muster up the willpower to not feel like shit about my terrible drawings as well.
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No.15491
>>15489
For Reference. Here's my most recent drawing. I'd post some anatomy work if I knew how to draw it.
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No.15492
>>15490
What do u do to help with that?
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No.15494
>>15492
I don't to be honest. The last "drawing" I did is a year old on the dot. I did do a couple animation studies but that was six months ago. Just put me out of my misery; the whole "you're only competing against yourself" is true but it's cope on some level as well.
No one that has even a passing interest in doing it likes to suck at this shit and having
the fact you do rubbed in your face from all angles at all hours of the day is totally disheartening. However, we all have our own truth to speak through art and the only way we'll be able to speak it is if we have the temerity to stick w it through the misery of the early years.
Like anything else it's a value judgment. Survive years in this personal hell and maybe come out a God, or move on and accept that perhaps your strengths reside in some other area.
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No.15511
I have a question regarding design. Typically if you're just designing a character's basic look would you use a neutral standing or dynamic pose?
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No.15513
>>15511
There's no rules regarding that; it's a meme to think that you're obligated to do a Frankenstein turnaround-but there's nothing that says you can't do one either for your own reference.
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No.15528
Are there any decent places to post your art in? Something that isn't like twitter which is 90% leftist virtue signaling and 0.2% art. Deviantart is shit and becoming more shit technically, Pixiv is mainly Japanese and kills my browser, Artstation is too serious, imageboards are 99% made up of anal gay nigger tier degenerates.
I'll even take an obscure site that hardly anyone knows about, I'm not really looking to "grow my audience", I just want a decent place to post art in and talk to people who aren't completely fucked in the head and in the dick. Maybe it's just time to finally kill myself.
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No.15529
>>15528
Twitter is a great platform to save your art. I see people going from only having a few hundred followers to having thousands in an instant all the time. The preponderance of gender retards is upsetting but it's just an unfortunate reflection of our society at large-not much you can do about it except hope that people stop going to college and ruining their financial lives and their brains for (((certain people)'s benefit
Almost every platform is worthy from a technical standpoint, judging them by the userbase is a bit too cynical because you just can't control it and you can't hope to change it even a little without confronting it and moving amongst it somewhat.
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No.15587
I would strongly recommend the BO to log into his bunker accounts to avoid someone ill-hearted from claiming them. Particularly his Julay one.
I picked another hobby but i still wander around these parts, just a friendly notice not a warning.
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No.15588
>>15587
Thanks for the heads up. I actually don't have a bunker account anywhere; someone made a /loomis/ copy on Julay probably long before I realized that site even existed, for example. No harm no foul.
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No.15804
I'm cropping together several reference images in Clip Studio Paint, and I notice the black and white images have these black/white squares - is this a monochrome setting that I could turn on/use on other layes?
>>15588
I like the look of these
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No.15806
Any recommendation for drawing books?
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No.15807
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No.15808
I'm having problems with process block, which is aggravated by my perfectionism.
I try to make base shapes so I can do human-figures, but the following shit happens:
>Try to draw on a larger canvas, my mind pushes my hand back to 8x10 sheets of paper and tiny shit that doesn't look good at all.
>I get the figure-drawing version of pic related, focusing too hard on details when I know I should be focusing in the big picture.
>I want to do base figures in different ways, but I don't know what is good, what looks good, and when I try it to experiment, it turns into a mess.
>my perfectionism woes are making me biased against my ruler, it wants me to use nothing but pencil, eraser, and paper.
>Would 3d printing a simple straightedge do anything for the above problem?
What can I use to deal with this and be on the road to the point where the process just fades into the back of my mind with the drawing motions itself? I know I have the capacity to draw, but I feel like I'm mentally tight.
I also got a copy of figure drawing for what it's worth, when I have time I'll take a look in there for methods and such.
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No.15820
>>15808
Maybe I'm projecting, but It sounds to me like you need to warm up more before you start drawing for real. Do you give yourself any time to do that?
I've found that it's important not to commit to anything I draw early into a session. Sticking to very loose sketches for at least half an hour or so and then polishing up the ones that didn't suck too much seems to work pretty well.
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No.15825
How the hell did the Romans learn to draw and paint so well over 2000 years ago?
How were they so good at anatomy, shading, perspective and depth? They were great even at ANIMAL anatomy. Compare their art to Medieval art, which generally looks awful by today's standards.
It took around 800 years of practice and refinement and 40 generations of artists to get from those extremely flat Medieval paintings to what we have today. How did the Romans achieve similar results before all of this?
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No.15826
Actually, I have another question: how did the people of the Chauvet cave learn to draw so well?
They had nothing, literally nothing to work from. They had no paint brushes, no paint, no pens, no pencils, no quills, no ink, no chalk, nothing.
They had no guide books, no references, no art colleges, no courses, no other examples or artists to take inspiration from, all they had were a bunch of walls, rocks and reality itself to draw from.
Written form of language wouldn't exist for thousands of years, so they couldn't pass this information down that way either. It's not thought humans even had a particularly advanced form of verbal speech at this point.
Yet, despite all that, they made use of shading, texturing, negative space, surrealism, and abstract impressionism all by themselves.
These people went through every phase of artistic history over tens of thousands of years ago, all by themselves.
I know this question is better suited to a historian rather than a group of internet artists. Sorry if this is a double post.
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No.15828
>>15825
>>15826
We stand on the shoulders of giants. I'm sure there has to be some reason these artists have such anachronistic skill but it's as you say, only someone with a lot of interest in history might know the context of some of these works' creation
Perhaps in Romans' time they had less reverence for the dead and thus greater access to cadavers and the like to study from. Rome's mild mediteranean winters means that not every single man, woman and child needed to be conscripted for round the clock farm work during summer to avoid shortages later in the year. Because they were the center of a world-spanning empire they had access to more colors and better tools the western europeans of later periods may not have had access to, etc. Every time a great world power collapses like that it undoubtedly takes a little bit of hard-earned general progress with it and I would imagine it would be the relatively niche stuff that would take the biggest relative hit in that regard.
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No.15849
>>15820
I think that's what I'm missing, thank you anon.
Funny thing, I was watching videos on warmups, not only is this stuff a good indicator of what I'm missing, one artist said that "we'd do these kinds of warmups before starting our life drawing sessions in college,". I went to a community college in an art-based major for six years, I wasn't taught any sort of emphasis on warming up in my drawing classes, at all.
Of course, that's not as ridiculous as having an enviromentalist professor, assigning us a ridiculous book that had literally NOTHING to do with art, and even QUIZZED US on that stupid book.
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No.15927
>>15825
By medieval art you truly mean sacred Christian art that aims to capture the higher instead of the flesh. You may think the art became "better" when approaching realism instead, but capturing things like a camera would was not the point of it.
In the part of Rome that survived the longest, Byzantium, or East Rome, you will find such art produced. These were Greek men keeping the Roman culture alive.
There are strict rules one must follow, divine proportions and so on, so this isn't a question of talent. I really recommend reading up on sacred art if you're interested in it. There's very few people who still produce it and it is restricted to the orthodox world.
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No.15995
>>15826
>know this question is better suited to a historian rather than a group of internet artists
Don't put yourself down anon,
You'll be suprised what some autists with no formal training can do
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No.16035
How do I make my skulls not retarded besides learning how jaws work?
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No.16042
>>16035
The rear portion of your skulls seems to be slightly too short, consistently, as a consequence you're putting the very peak of the skull right above the brow and having it start to drop sharply almost immediately. Otherwise they look fine in that you have most of the details correct, you just need to observe the masses better. Here's something to think about: most of the time the overall skull seems to be about double the length of the lower jaw.
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No.16044
>>16042
Well shit, I didn't expect it to be something as simple as that. Even the jaw looks better now since there's a proper place for it to go.
Thanks anon.
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No.16107
Does anyone have experience with lightboxes and have good ones to recommend?
I prefer analog over digital, but I would like to emulate layers and be able to ink without risking the original work and erasing pencil marks. So far I would just tape original sketch and a blank page to the window, but I am slowly getting tired of it.
I looked online, but many recommended products have been discontinued or are not available right now.
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No.16136
Is there any good art forum to post your shit and get constructive criticism?
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No.16137
>>16107
Never used one tbh, whenever I try and go trad it's just been an awful experience for the most part. I still do most of my studies in trad though
>>16136
You made this thread a while ago I think, and the answer then as it is now is: 'no' heh
Wasn't there the "Crimson Daggers" (Ow, the Cringe) forums run by a concept artist or something? That might be okay idk
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No.16139
>>16107
No experience, but if you are the DIY kinda guy or know one, making one should be fairly simple.
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No.16145
>>16137
>You made this thread a while ago I think,
That was some other guy and I remember his question being slightly different, I just want a place to tell me how and fucking up and how to fix it.
>Crimson Daggers
It's not as bad as other places but it suffers from the "looks good, just keep trying :)" critique a lot of places have sometimes, rather than more objective problems.
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No.16158
>>16139
>>16107
with how cheap the cheapass lightboxes get, it's certainly not worth buying anything or putting in effort to make one, but any combination of lights and translucent or clear plastic is probably better than a fucking window.
i just use an overturned tub and a short lamp.
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No.16309
Obligatory "how the fuck do I draw" question.
Hours of hip/leg anatomy studies led me to fuck all. I think I'm too retarded to draw.
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No.16310
>>16309
Nah, once you understand the relation between the pelvis, the femur bone and the leg muscles it will come together more clearly. It's not easy though, no.
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No.16403
Anyone got any books/resources for drawing and simplifying plants? All those leaves, branches, petals, it’s a total clusterfuck.
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No.16407
>>16403
Plants' features like leaves and petals are fractal-like; you draw one of their leaves for example you've more or less drawn them all. Just keep their graphic shape in mind and consider how they can twist and fold in space.
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No.16508
is there a way to fill in colors without leaving white areas behind on thin lines?
using clip studio paint and I don't know if I should just find a different way to color instead
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No.16509
>>16508
It does that-I think-to keep small holes or gaps in the lines from filling the entire canvas.
I think it's more common to use the lasso selection tool to make areas of color on a different layer
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No.16532
>>16508
You select the outside, grow the selection by one or two pixels, invert the selection and then fill.
>>16509
That's what you do, if the area you want to fill doesn't have a closed outline.
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No.16533
>>16508
For something like your pic, you would probably need to use both techniques.
First, fill it by clicking the area, you want to fill.
Second, use the technique, where you invert the selection.
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No.16534
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No.16537
>>16534
I've actually meant to link to post 561. The blue haired one.
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No.16538
>>16534
>>16537
Shame, I like that other one quite a bit. They're both pretty simplistic and not "good" by any real objective standard but they're comfy.
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No.16571
Is tracing a good drawing exercise for developing a tighter grip? I see people memeing all the time that you learn nothing by tracing but I think tracing is a more fun way to get a tighter grip than drawing circles and lines ad infinitum.
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No.16574
>>16571
I don't know about using it for a tighter grip but I expanded my anatomy knowledge very quickly by tracing and naming the anatomical feature I was copying.
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No.16579
>>16571
>Is tracing a good drawing exercise for developing a tighter grip? I see people memeing all the time that you learn nothing by tracing but I think tracing is a more fun way to get a tighter grip than drawing circles and lines ad infinitum.
Tracing can be good to get a feeling for how a certain artists draws his lines.
But remember, you become better at what you practice.
If you practice a lot of tracing, then you get better at tracing. You might learn a few additional things, but I don't think your end goal is to become the master of tracing.
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No.16589
I feel like i've turned into a smooth brain cuz i've forgotten how to construct bodies well and i don't remember where i learned, help
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No.16590
>>16589
I wish I could help you but I frequently go "groundhog day" as well and end up a near-complete blank slate. One thing I will say is that I feel it's actually more important to understand the real anatomy than the construction-if I'd have studied that more in earnest from an earlier period I'd be in better shape by now.
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No.16591
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No.16592
>>16591
what the hell is this link?
do i need tor to use it?
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No.16593
>>16592
>do i need tor to use it?
Yes, it's only for the cool kids on the block.
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No.16594
>>16592
Yes, you should use the Tor Browser Bundle to access that link.
No normies allowed! Only special bois.
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No.16595
>>16592
>do i need tor to use it?
Yes, It's a Tor only site.
I actually wanted to attach the following picture
https://anon.cafe/loomis/res/560.html#q660
but it looks like 8kun doesn't allow posting pictures via Tor.
I'm out.
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No.16596
>>16593
>>16594
>>16595
Wow, the 8kun software is shit-tier.
As of right now, the last three posts I made don't even show up if you view the thread isolated.
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No.16597
>>16596
Yes, it's quite poor. I wish I had the foresight to look for alternatives in the months that 8chan had disappeared but I was optimistic this wasn't going to suck as bad as it did
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No.16599
>>16594
Place's looking pretty dead, which is sad.
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No.16601
>>16599
Because I've created it two days ago.
It takes time. The thread is just an excuse for me to post my practice drawings.
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No.16631
Resources for drawing skinny and untoned arms? Every guide I see is based on fuck huge punch through walls arms.
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No.16632
>>16631
You don't really need resources for that honestly, you just omit and include detail as needed. Emphasize the contours and "silhouette" vs individual forms. (unfortunately to do that you'll need to understand those individual forms pretty well)
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No.16633
>>16631
You're capable of drawing the human skeleton from imagination, right?
Skinny arms just have thinner muscle fibers.
And you can add and subtract fat as you need.
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No.16634
/loomis/ please help,
I'm trying to find the name of a painter. This painter used a limited color palette of something like yellow, red, black, and white. Maybe brown. Because of the lack of any overtly cool tones, everything looked like what I can only describe as dusk in summer. I remember the paintings I saw being of Greek and Roman mythology, but I could be wrong.
Any help?
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No.16635
>>16634
That's pretty general, does her really only use that limited palette or are you just thinking of a specific piece or pieces? Are you thinking of William-Adolphe Bouguereau?
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No.16639
>>16635
No. It's not Bouguereau, though his version of The Birth of Venus is GOAT. It's not Zorn either, despite "the Zorn palette" being pretty much exactly what I described.
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No.16666
This is kind of a long shot here but does anyone know of a board based on music composition out in the chanz? No, not /mu/.
Seriously, every music making community on the net is utter dogshit.
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No.16686
>>16666
Sorry satanquads I've got no clue
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No.16693
For studio lights, I kind of have two choices… Should I got for 6000k color temperature lights with an 83 CRI, or 6500k color temperature light with 90+ CRI? OR should I go for a 90+ CRI 5000K light. There's so many opinions.
Some say not to go to too high of a color temp and stick to 5000K because most people won't display your art in very white light. Others say to stick to 6000-6500k because that is closest to natural sunlight and you can discern colors best.
What is /loomis/' opinion?
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No.16694
>>16693
I only took a handful of courses at an atelier so this is way above my pay grade. I'd go for "truth" (in this case the 6000k) over supposed practicality in this instance. I'd rather know exactly what my colors are in ideal light and trust my customer to place the painting somewhere that suits their own ideal.
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No.16696
Only somewhat art-related, but…
I remember like roughly 2-3 years ago I ended up stumbling across this forum/site that was only accessible after registration, and basically inside it had a bunch of links to download various art resources, programs, 3d models, etc for free. I remember the site theme being rather dark/mostly black, but otherwise, I cannot remember what the name was or find it via google since most of my searches just give me dead ends.
Does anyone have any idea what site I'm talking about?
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No.16697
>>16696
Are you thinking of the torrent aggregator uh…cgpersia?
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No.16698
>>16697
(its formal name is cgpeers but I think they made the url cgpersia or whatever for some reason)
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No.16903
So when I'm doing cel-shading, is there any general rule as to when I should be decreasing the Value more than I'm increasing the Saturation, and increasing the Saturation more than I'm decreasing the Value? Both of them look right to me, so I'm not sure if there's a situation where I should do one or the other.
And another question, I'm trying to shade something that has multiple colors that aren't separated by lines, is there any way I shade them all with different colors on the same layer without having to release my pen, or am I going to have to bite the bullet and separate them on different layers (pic related - the white/red ball) or shade them all using a Multiply layer?
Both examples were done in CSP for context.
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No.16905
>>16903
I really don't know if there's an actual "rule" necessarily; There probably is one but in lieu of being aware of it myself I guess I can just infer that it's kind of something you'll probably have to experiment with. "If it looks right, it is right" sort of deal.
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