I am such a huge horse nerd and I apologize. :( But I’m really tired of seeing girths that are halfway down a horse’s stomach. This may not be interesting to anyone who is not me, but I like to draw fancy saddles and ridiculously long shanks on bits. Also, horses are the only animal I can draw, so I take advantage of that.
I hope this helps some frustrated non-horsey artists in at least some small way. Remember, when in doubt, add some buckles and some rings. :)
ALRIGHT, so, I know a lot of people have trouble making eyes match. Yesterday I found out a way to make it significantly easier! Here’s a small guide.
Well, first of all, you have your face. mark where the eyes should be on it.
Then mark the corners of the eyes and go over the middle again, to make the next step easier
Alright, I know it sounds a bit crazy, but draw this shape, trying to make it as symmetrical as you can.
Draw the eyes using that shape as a guide and TA-DA! They match! For different eye shapes you tweak the angle of the two guide lines.
And it also helps with angles where the size and shape of the eye is distorted, you just put it in perspective.
I think the theory behind it is that the thing that makes it hard to make the eyes match is the angle of the corners, and this type of guideline helps make them even, which makes the eyes look symmetrical. Welp, here it is! I hope it helps someone!
Don’t lose yourself in technicalities. Sure it’s nice to know some basics, but by being too obsessed with perfection and rigorous Art Rules, it comes at the cost of losing a LOT of YOU in your artwork. I can always tell when I’m looking at a Singer Sargent, tell a Leyendecker from a Rockwell, tell my friend’s art from my own, because we all do things differently, we see the artist in their art and their emotion and their style from colours to line hardness, from motion to subject matter. A style is never developed right away, it’s something that develops with you over a long period of time and continues to evolve forever. Art is like poetry. Even a poem that isn’t “”structurally sound””can have more feeling and you in it than one that tediously follows all the rules. Sometimes by following rules too closely, things lose what makes them unique.
Don’t be intimidated by other artists. This is so hard but know that no artist ever starts out “perfect” and no artist ever stops growing. In fact, perfection is purely relative and subjective. By nature, there is no such thing as inherently perfect art, nor is there such a thing as inherently bad art, as those are opinions expressed by viewers, not the art itself. And trust me, every artist you view as perfect views themselves as imperfect; artists are just an endless circle of X saying “I’ll never be as good as Y” when Y is thinking they’ll never be as good as Z and Z is thinking they’ll never be as good as X. The only thing you have to worry about is creating art by how you like, and not what anyone else thinks is “good” or “well executed”. You will always be learning and growing
For the love of all that is good, do not be afraid to use references. In fact, use them. Get physical with them. Trace hands and bodies to know them. Take photos of yourself in the mirror. Set up tiny scenes or shine a flashlight at your face to understand lighting. Run your fingers across fabric to understand its texture, throw the fabric in a heap, let it fall, understand how it moves. Weigh coats in your hands, weigh cups with liquid in your fingers, cups without liquid. Lean into poses, feel where the weight falls. Bend your body, watch how others bend theirs, where fat folds or skin stretches taught over bone. Feel. It doesn’t even have to look “realistic” or “right”. What matters is that you took in every cell and fibre of that object and translated it through your own eyes, through your own fingers, and interpreted it how you think it was meant to be
Extra tip: Doodle from real life objects. Doodling I find is a good idle way to build character to your art. My doodle of a little toy bear can look more cartoonish or realistic, but it’s in this way I learn to take something or someone in front of me and translate it into my own style by my own hand. I have little sketchbooks filled with these random things, like I waited for my mom at the dentist once and drew a bunch of things I saw in the waiting room
Also being “sloppy” or silly in your art is fun. I throw out all these funny little sketchy comics that I spent all but 2 minutes on, exaggerating faces and movement, none of them abiding by any traditional things or really intending them to look good, but they always seem to resonate with people I think cos they tend to be very expressive.
I created a quick walkthrough on my process! You can do the same with any digital art program and brushes you like. As always, learning comes with critical thinking and if you feel this does not apply to you, then no worries! There’s no correct way to do things as long as you achieve the results you want.
The technique can be customized with different brush types and colours, and can be as simple or heavily rendered as you so desire. I hope it helps a little! I like to do lighting like this in my own work for a sense of atmosphere.
Please ignore the fact I spelled complementary wrong, it’s been a long week ok lol
Scene from @simpleidiotpsychic‘s mp100 fic Out of Body
Oof, that’s it, that’s all I got in my storyboards.
I’m still confused by how this stumbled its way so craftily from “let’s maybe key animate one shot” to “okay fine all shots but no inbetweens” to “not gonna stop till the whole dang thing moves”