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ive made more

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I might be updating this blog but I'm not going to change it in any way. I'm just updating the tags and posts.

Then I might be a bit more active on here. As I'm also going to get a proper art workstation so I'll have a real place to draw.

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I forgot I have to be active here so here’s my Twitter tutorial on how to draw folds I made a while back to help a friend!

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she had a family that loved her

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i’ve been rewatching hbomberguy’s plagiarism video and it always gets me when he says “creative people often have trouble recognizing their skills as skills because eventually they feel like second nature.”

and i think we’d all benefit from hearing that once in a while.

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I hope none of you disappear in the coming days. Seriously don't do anything that can't be undone.

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"Wow omg you drawwwww? I wish I was a drawer soooo bad omg I suckkkk so bad at arrrt"

me:

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things that aren't real in professor layton:

time travel

things that are real in professor layton:

robots that behave and act perfectly as human beings

hallucinogenic gas

a box that's so scary people die of fright

giant robots (not related to those other robots)

mind transfer technology

megafauna, now more recently extinct

technology to elevate an entire city

robot mummies

catacombs with deadly puzzles

reviving people from the dead

sleepytime mushrooms

glue snails

hypnotic flowers

uranium, but not like, our uranium

time travel

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I think the Funtimes are made with holographic materials

and speedpaint below the cut!!

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hate that the advice to blur your sketch before you start lining it is so helpful. i put so much work making that sketch overly clean and detailed and now the best thing i can do with it is turn it into soup. mad. and yet it does work. it really really works.

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Rules For Making Art

You can quit. If you want to quit, if you explicitly want to quit, you can. You must never forget that. It is not a negative, it is not a penalty, it is not a failure. Your life is yours to live. The amount of time spending art is yours to choose.

If you do not explicitly want to quit, you cannot. You can rest. You can rest as long as you like.

But unless you say, to your self, in a quiet moment, "I do not want to do this" then you keep going.

You can rest as long as you want.

Months. Years. Decades.

It doesn't matter. The art is there when you get back. It doesn't expire.

You're alive? It's still in you.

Skills can be relearned. All of them. New skills can be added.

You should rest.

It isn't a need, it is a demand. It is maintenance, it is itself part of the art because it is part of being alive and being alive is part of the art.

There is no penalty for slowness.

The benefits of speed are vastly outweighed by the hidden costs: wear and tear on machinery, your body, your mind. You think these are gossamar costs because they are out of sight, out of mind.

Until they are not.

There is no penalty for slowness, the benefits to speed are ephemeral and difficult to calculate, resting is not a need it is a requirement.

Your art is yours. Your life is yours. It can be big, it can be small, it can be both. It can be cheap, it can be expensive, it can range between the two.

The audience brings to the table their wants, their needs, their curiosity.

The audience does not dictate the art.

You do not dictate the audience.

This is a collaboration. Both sides are equal, artist and audience. This keeps your feet on the ground and your head in the clouds.

With fire, I recommend making art that you think should exist, but doesn't yet. That's the stuff, that's the best stuff.

Weigh the costs. Financial, social, physical, mental, spiritual, temporal. Constantly. Is this what you want? Are you following your heart? This is not a loaded question. It is spoken softly. I speak this to you as softly as I would a lover who has fallen asleep in an uncomfortable position.

If you can't make what you want, where can you reduce scope? Where can you increase time? Can you make it smaller, can you make it less elaborate? Take longer time to do it?

Can you make something else entirely?

Can you keep this idea in idea form while you work on something else?

Weigh the costs. An unrealized dream left to dust because it was too hard, too expensive, preventing you from making a realized dream, is worthless.

Make it small.

Make it simple.

Review the scope. You want to make a widget. I ask you softly, do you want to make this widget? Not something else?

Make it smaller than that.

Make it simpler than that.

Review the scope. You want to make a fidget. I ask you gently, if you pursue this path it will cost you much, would you be as satisfied if you made smaller things in greater quantity?

When you feel like quitting, ask yourself with the clarity of cold water on a hot day. Hot water on a cold day. Do you actually want to quit or do you need to rest? Are you not resting because the cost of resting feels like giving up?

There is no giving up.

Failure doesn't exist.

You either want to do this, and do.

You either want to do this, and do it simpler, smaller.

You either want to do this, and rest for awhile, so you can gather resources to do it later. Mental, physical, financial, social, spiritual.

You either want to do this, and plan alternatives, break it apart and do other things first, work up to the grand vision, rescope the grand vision, remix it, shift it around.

Or you don't.

And if you don't? If you truly don't? Then don't force it.

Live your life doing literally anything else. That's great too. Equally. The entire point of being alive is to fill up the well of your soul. There are infinite paths.

If you want to make the thing? Make the thing. Maybe it's great. Maybe it is objectively terrible. Most likely it is somewhere on that spectrum.

Did you enjoy it?

Then it was worth it.

That's literally all that matters.

Everything else is secondary.

Quality is secondary.

If you make things publicly? Quality is quaternary. Here is the order of priority. I'll spell it out. I believe this with my entire soul.

Your enjoyment

The enjoyment of your friends

The enjoyment of people who don't know who see it

The quality of the piece itself

Maybe it wins awards. Maybe it's in publications, maybe museums. I've had work win awards, be published in books, shown in museums. I have stuff you've seen if you've shopped in the grocery store in the United States sometime in the last 25 years or so. And far broader places.

That's great. Resources to keep going.

Secondary.

I love making art.

If you do, too, I hope you make art. If not, that you're resting. And if doing neither, I hope you rest until you it's art time again.

Cheers my fellows.

I hope we all make it.

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i know we joke about cis artists having the weirdest sense of anatomy, but also even when the anatomy is fine, no one seems to want to draw women doing normal things

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tutorial idea: how to draw teeth / toothy smiles!! i think teeth are difficult for a lot of artists, esp me. im terrible with drawing smiles with teeth. So I would really appreciate if you made a tutorial for teeth! /gen /nf. Thank you.

Your wish is my command, dear anon!

[Transcript]

->Gums show a little

→ Smiling pushes cheeks out

Mouth corners look like triangles with lil' hooks

A closed-mouth natural smile will show the top teeth only

There are four incisors (the flat ones) followed by a canine & five molars on either side

I usually group the incisons together fon a more stylised look

While smiling, the lips stretch and look thinner

Start with simple shapes and work your way up to detail!

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Hey weird question but what’s your recommend pen pressure for clip studio??? I had the program for a while and enjoying but I can’t seem to get the pressure to feel right

ouu this really will depend on you, some people require different amounts of tension / pressure in their pen grip to feel "right". It also depends on your tablet, some tablets come with a wider range of pressure output - right now the standard across the board seems to be 8192 levels of pressure sensitivity, but other models can come with less and that can limit your range in what's possible (I remember the days when 2048 levels was mind-blowing LMAO and now I'm learning that 8192 is the new norm ?? wild). That said, levels of pressure sensitivity are kind of like resolution differences in TV's - there comes a point where you can't even feasibly see the difference anymore so a higher number in pressure sensitivity isn't necessarily going to make any sort of significant difference for you.

Ultimately what I will suggest is to pick a pen pressure that lightens the burden on your wrist and tablet, you shouldn't have to be digging the pen hard into the surface of the tablet to get lines at their full size. If you find yourself doing that, you should try and lighten the curve of pressure sensitivity in your settings, your tablet surface and joints will thank you.

It should also be noted that you can change both global and brush-specific pen pressure settings. So while I have a general global pen pressure setting that applies to the entire program, some brushes I apply lower - or higher - minimum size values depending on the purpose of the brush. Lining pens for detailed work I'll typically have lower minimum values, whereas large painting brushes I'll keep at a static pressure size because they don't need to get too small for detail and are best expressed with sweeping motions that can be achieved with just a few levels of pressure. And some brushes I just have pressure sensitivity turned off entirely because they're meant to be the same uniform shape throughout!

You should also check your pen tablet's specific pen pressure settings as well. IDK what brand of tablet you're using but they usually require drivers to work and if you start those driver hubs you can find pressure sensitivity settings to apply not just to Clip Studio, but across all software.

I'll share with you my settings if you want to try them, but again, you'll have to adjust them to your needs as what I find comfortable isn't necessarily going to be comfortable for you.

Huion Tablet pen pressure settings:

(I have these set to a linear default, it just means that any customizing I do is exclusive to the program I work in, makes things less complicated for me)

Clip Studio Global pen pressure settings:

You can find this option under File > Pen Pressure Settings; it's where you can adjust the global pen pressure to apply to the entire program regardless of what brush you're using. What's nice about this is that you can actually draw while this is active and it will adjust your settings accordingly to match your technique!

Here's a lil' video demonstrating it:

And of course, just note that regardless of whether you're changing global settings or specific brushes - a higher curve means less pressure is required to achieve the targeted brush size, a lower curve means more pressure is required to achieve the targeted brush size. So if you have a brush set to a size of 15, a higher curve means you won't need as much pressure to get to that size, whereas a lower curve will require more (but that means you can achieve a wider range of smaller sizes leading up to size 15 with a lower curve). Where those curves fall on the graph determines that curve of pressure - if a high curve is immediate, then the range of pressure is very very low; if a curve starts off low but gradually builds up to and ends in a high curve, you'll have to travel that curve of pressure through your technique to achieve that highest point, meaning wider range of size expression, but not necessarily beneficial if you don't need that wide range and want to be able to get from small to big quickly and without much pressure needed.

Specific brush pen pressure settings:

So what's basically happening here is that some brushes have more unique pressure settings tailored to that specific brush (such as the DAUB Basiliscus brush which, iirc, came packaged with those pressure settings, meaning it has unique properties that don't specifically adhere to the global pressure settings I showed above); whereas other brushes have the pen pressure turned off entirely either to prevent it from having dynamic lines, OR to allow it to be manipulated through other pressure settings like tilt/thickness/opacity rather than size.

All of this is why my specific tablet driver has a default linear path for its pen pressure, so that I can alter the necessities of my brushes and software as needed. By default, I don't like having to put too much pressure on my pen to achieve the targeted size value, so my general settings curve in CSP looks like this:

Which means I can achieve that maximum value without too much pressure; if that upper curve was further away from the start point, I would need to apply more pressure to hit it.

Whereas if I need a specific brush to achieve a wide range of pressure expression through a slowly-building curve, then I'll edit those brushes settings to do so! (the DAUB Basiliscus brush seen above is, again, a good example of this, because its pressure curve is the complete OPPOSITE of my global pen pressure settings.)

And if anyone's still struggling to grasp the concept of the pen pressure graph, I think the best way I can compare it is to something like volume, or even video editing fade-outs or animation frame timing. It's all in the timing, if something gets bigger faster you don't get a chance to see what came between point zero and point 100. Here's a visualization with examples in terms of music that is fundamentally the same in how pen pressure operates:

I hope that all makes sense and helps! I probably went into way more detail than necessary but I figure if I'm answering the question anyways, may as well go into more detail for those who might also benefit from this! Especially when it involves graphs LMAO (I'm awful at math but graphs are my jam hahaha)

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current mantra

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I think the main reason why FNAF translated well into a movie, while Minecraft very much doesn't, is that when you're playing FNAF you're supposed to imagine it as real life. You're supposed to squint at any janky or goofy animation it may have and imagine this is you, right now, in real world, behind this security guard desk. While playing Minecraft - what you see is what you're supposed to see. This is not the real world, this is the world of minecraft and things are blocky with simple colors and designs. You're not in the real world, you're in the world of the game.

Which is why seeing the graphics so realistic yet still blocky makes it look deeply uncanny. Like this is not real world. This is also not minecraft. I have no fucking idea where I am

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