Here. Have a weird Photoshop experimentation of Princess Sakura. *flails*

I’m trying out the demo for Manga Studio 5. There are some really nice brushes in it. <3 
Rachel Jay (c)

I’m trying out the demo for Manga Studio 5. There are some really nice brushes in it. <3 

Rachel Jay (c)

eerie-innocence42:

I’m still not over the ending. Title drops.

Look up the Epilogue for Tsubasa: Reservoir Chronicle and see for yourself, if you don&#8217;t believe me&#8230;.

eerie-innocence42:

I’m still not over the ending. Title drops.

Look up the Epilogue for Tsubasa: Reservoir Chronicle and see for yourself, if you don’t believe me….

terminalmontage:

tmirai:

foervraengd:

ibelievepracticemakesperfect:

ibelievepracticemakesperfect:

BittersweetDisease/Foervraengd’s Tutorial Series - Understanding Anatomy
[Part 1] - Introduction
[Part 2] - Drawing The Base
[Part 3] - The Torso
[Part 4] - The Legs
[Part 5] - Arms &amp; Hands
[Part 6] - Gesture
[Part 7] - Bodyshapes

Edit: Fixed the hideous picture issue.

:D

This is a super, super awesome tutorial that I refer to often.

Saving this for later, I really need it.

terminalmontage:

tmirai:

foervraengd:

ibelievepracticemakesperfect:

ibelievepracticemakesperfect:

BittersweetDisease/Foervraengd’s Tutorial Series - Understanding Anatomy

[Part 1] - Introduction

[Part 2] - Drawing The Base

[Part 3] - The Torso

[Part 4] - The Legs

[Part 5] - Arms & Hands

[Part 6] - Gesture

[Part 7] - Bodyshapes

Edit: Fixed the hideous picture issue.

:D

This is a super, super awesome tutorial that I refer to often.

Saving this for later, I really need it.

xwidep:

Hand references for the artist via

artbymoga:

fucktonofanatomyreferences:

A mouth-watering fuck-ton of hand references.

[From various sources]

I’m sobbing I needed this so bad

A message from Anonymous
I love your art work so much :3 I was just wondering, how do you pick your colors? they are just so beautiful and unique and UGH i cant do colors and it pains me
A reply from lemonteaflower

its about time i try to explain this as the obviously unprofessional i am. 

i just pick colors depending on my mood, there are colors that look colder and warmer, so i take advantage of that 

image

do you feel the colors. you gotta feel them. 

then it’s time to pick the best colors for your piece, aka AVOID THESE IF YOU CAN. 

image

sometimes they work tho, but why pick those when you can pick these

image

they give you cuter colors and better color palettes.

remember to feel how warm or cold or neutral you want anything to look. 

image

that’s better looking than the MS Paint default palette. after some time you will be able to choose nice colors, give it a try. (you can also make a new layer with a solid color and set it to Overlay and it should help). 

image

then the shading comes in, you’ll eventually realize some colors look better with others. BUT PLEASE PLEASE AVOID SHADING WITH BLACK/GREYS OR MAKING LIGHTS WITH WHITE.

image

ew that looks so simple, why do that when yOU COULD BE SHADING WITH COLORS TOO??? 

image

image

yeah that looks more lively. 

i really like colors and that’s why i experiment with them a lot so to fully understand them you could either learn on your own by trying (like me) or you could take color classes, which is good too because they will teach you about other important stuff like this 

image

but basically its just 

image

don’t take me too seriously because i just fool around with colors hnnn. u3u 

pascalcampion:

More awesome tips from Grizandnorm.
grizandnorm:

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

pascalcampion:

More awesome tips from Grizandnorm.

grizandnorm:

Tuesday Tips - Gesture Drawing

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

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

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

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

Norm

osi8m:

how to spell circles like

here:

image

or here:

image

for photoshop, thought as long as your program allow to make elipses, or other shapes and use layers, it should work too :P

modmad:

claire-sketches:

dinolich:

veesdumpingrounds:

tiny tutorial thing I meant to make for the people I sometimes help out on portefolios : ) just wanted to share perspective doesnt have to be a bugger, yknow ? 

great advice! In storyboarding no one has the time to draw out full and complete perspective grids, these are great ways to get a sense of depth and field in a short amount of time.

Great advice on perspective!

literally how I do the perspective in nearly all of my boards

lexxercise:

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

BRUSHES

Pencil

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

Ink Pen

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

Round Brush

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

Flat Brush

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

Watercolor

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

Cloud

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

TEXTURE OVERLAY

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

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

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

Hope that helps!

-L