artystary

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Just finished Clair obscur expedition 33.

I'm so destroyed

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I've been watching some Vtuber videos lol, felt like creating something and redesigned my persona for the 4th time lol

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SOMEONE ALREADY CRACKED THE WEBSITE AND GOT A MAJORITY OF THE SECRET CODEWORDS! I'm putting them all here in image form because there's a crapton, have fun!

6 images in all, you'll probably have t. Save them and zoom in. Go nuts ya'll!

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Dori and Selene :)

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Snork mimimimimi

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Mood

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Boredom in class, drew this in mspaint with the drawing tablet they have there

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Dori swingin', what's she thinkin'

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Dori, she's beauty, she's grace,

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Jester from rottmnt two souls and belongs to @virgilisspidey! Hopefully I did them justice, they're so cool!! I was really into that anglerfish vibes and wanted to put some glowy bits somewhere (and Jester wearing jester costume kinda fits lolol)

Also initial sketches below read me:

The left one was what I wanted to give with the description of how Jester appeared (head first and smiling/grinning) but it didn't vibe well with the art I saw, so I changed it to the current one. The right one had colours for a jester but didn't look creepy enough LOL

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Listening to the EPIC the musical and thinkin of my ocs lol

Specifically My Goodbye cause watching wolfy's animatics akldfjlkajsf

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:3 (gentle)

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random sketches on paint

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OOOOOOOO im intrigued :3 whats ur lil fundy wip :D?

HAHAH OK SO DISCLAIMER: I was very into dsmp stuff and watching clips so don't judge me XD

I was watching a Fundy clip about him doing crack pot theories, and it was so goddamn funny I wanted to do something for it (probably a simple animation of what's being said appearing and disappearing). The link of that clip is below (16mins, but skip to where he goes into the building) and the drawing below lol

https://youtu.be/6XvnG5xsqwg

I also wanted to find a cuter, simpler way of drawing stuff during this time. That's about it, I doubt I'd go back to it but this was fun to look at again, thanks for the ask!

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Thanks to @fluffyartbl0g for tagging me!! Being shadowbanned rly made me miss this jdksjla so I'm posting it here instead of @staryeclipse

RULES: post the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous. Let people send you an ask with the title that most intrigues them, and then post a little snippet or tell them something about it! and then tag as many people as you have WIPS.

Ellipse

fundy

lion and monkey (I think i might have posted this before?? but I dont see it so)

ouh

RushE

abomnination

Sketches1

KingTurt

panicroom

agate

Now to tag mutuals who (I think) draw! (Hope you don't mind me tagging lol) @ashwolfcub, @anaban44, @messedupmoon, @toggy001, @intravenous-chloramphenicol, @ariasune

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HII I love your art so much it's so expressive and it feels like theres so much movement in it! I was wondering if u had any tips or advice to help with that? I practice anatomy and expression so much but it seems like everything I draw on my own is so stiff!! Anyway I hope you have a great week :)) <3

Hi there! Firstly, thank you so much for the kind words, it means a lot that you would take the time to tell me!

Second- my advice is to take everything you've learned about anatomy and THROW IT OUT THE WINDOW!!!!!!!

... For now. Just into the front yard so you can keep an eye on it. But I have seen many artists concentrate chiefly on studying anatomy only to feel like their art ends up too stiff. My own experience has been to treat anatomy as a tool best used to correct an image in the later stages of construction rather than as your driving foundation.

If "correct" anatomy (however you choose to define that) is the priority of your undersketches, I find that you end up with a sort of Skeleton Song approach to drawing - y'know, the knee bone's connected to the thigh bone, etc etc. Whatever energy, emotion, or intent you wanted your drawing to convey is getting lost each time you split it into another anatomical segment. By over-focusing on individual parts, you lose sight of your image as a whole.

The key to conveying dynamic movement in motionless art is to ensure every element of your image agrees on and communicates the same action, the key to which is something called the line of action.

A line of action is simply that - an implied "line" with wich you lead the viewer's eye and communicate movement. Think of it as the core of your figure's action, simplified to its rawest form. By knowing this, you know what to emphasise and what to de-emphasise.

Well, art is a visual medium and I am better explaining with drawings than words or I'd never have picked up a pen in the first place, so:

Images can have multiple lines of action, lines of action can complement and contrast each other, and a line of action isn't always as obvious as something like running. Imagine you're tring to make your art more "aerodynamic" to the eye. Since I draw a lot of One Piece fanart, I assume you're also familiar with it, and you can probably imagine how Oda uses "lines of action" when composing panels of Luffy punching something, Zoro slicing something, Sanji kicking something- etc etc. He's really good at selling the "oomph" of action shots by reducing visual clutter so that the impact of the action is greater.

(The Monster Trio's abilities are all designed in such a way that allow for REALLY striking lines of action... you can tell Oda loves studying manga fight scenes and wanted to create a world where he could push these concepts to the limit, and it's no wonder One Piece caught the eye of animators even before it was serialised by Toei)

You're probably already noticing how line of action also feeds into composition and silhouette when it comes to conveying movement in an image. Basically put, once you've isolated whatever action it is that you want to convey, the more visual clutter you can streamline away from that action, the stronger an impact that will have on the viewer. A firm line of action, an uncomplicated silhouette for your figure, and a readable overall composition of your image/panel are all ways to minimise visual clutter.

You can also use this information to achieve the opposite effect! Sometimes the ideal action you want to convey is not fast, or powerful, or confident, and you can use the same principles.

In fact, you can apply line of action to images that don't have any "action" in them at all. You can make a drawing of someone simply standing there feel more lively by applying these same principles to their body language:

You can develop an eye for how to simplify movement down to its "lines of action" by studying real photos and other people's art. Try simplifying a figure to its silhouette, and then simplify that silhouette further to a stick figure. And honestly, a lot of this could be boiled down to "see your image as a whole and not just a collection of individual pieces". Set anatomy aside during the composition stage and bring it back in when you start building up the sketch.

Moving away from the line of action, my second piece of broad advice is simply to exaggerate more. Lots of artists subconsciously hold themselves back from pushing motion, expression, etc. out of concern that it will look "too much". Well, maybe it will- but you won't know that unless you try! You can always walk it back if you think you took it too far, but I think you'll be surprised by how far you can push your art before you hit that point.

My final piece of advice is to work on line confidence. Even if you follow the rest of this advice, if you have hesitant and scratchy lines, you're undermining the flow and punch of your art. The best way to improve line confidence is simply by practicing! Do a lot of quick, timed studies, and use a permanent medium like a ballpoint pen or marker. Focus on unbroken lines wherever possible even if it makes your studies look like garbo. I find traditional studies are best for improving line confidence, but if you'd really rather stick with digital then just don't let yourself use the eraser tool, and try using a chunky brush with limited pressure sensitivity.

And that's it! Don't stress about it too much though. Loosen up with your art and, like any other skill, you'll improve with practice, time, and analysing what you like about other people's art. Good luck!