Needle Sizes/Types For Fabrics
Courtesy of Wildly Wonderful Wearables!
I was attempting to find out what sort of needle I should use for peachskin since I knew it was a finicky material and found this -amazing- chart that I am keeping -foooreeverrrr-.
Besides The Basics (construction of heads and skulls and muscles and skeletons and how they move), I’ll go over some things I’ve been trying to work on myself lately:
1. Treat expressions as a single gesture of the face/head, as opposed to a head and then individual features dumped on a plate and arranged into an expression.
First, just get down the big shapes of your expression, just like you would for a pose.
So say I wanna do a low angle angry pose. I know the features are gonna be all mashed down at the bottom because of perspective.
Scribble it down
start to put on features
put on more stuff
fix stuff again
erasing and flipping and stuff a whole bunch until you are happy with it or stop caring
Whole head is a gesture!
2. Just like a facial expression, jot down where the important parts of an entire pose goes first. You can force the rest of the body to fit the pose.
So here I knew I wanted the shoulders tilted a certain direction, and te hand to be in that particular position in front of her face.
That’s the simplest explanation I got. Don’t be afraid to push and pull faces and bodies around! Worry about being “on model” last!
I get a lot of questions about my process so I thought it’d be cool to break down and talk about some of my steps for illustrating covers! I hope this is helpful or interesting, it’s not quite a tutorial but perhaps it’s a glimpse into my thought process.
Step 1 | Thumbnail. The point here is to do several very fast, small, drawings, so you can’t get hung up on details. Here I’m thinking most about composition and subject. I had four originally and this one was picked to get finished.
Step 2 | Sketch. I draw on top of my thumbnail, nailing down more of the actual details. I fix any proportion isssues but I still try not to waste too much time making final lines, the sketch will go away in the end, so it just needs to be good enough for me.
Step 3 | Background Painting. A lot of lightning and mood is set by the environment, so I start with determining their background. I browse through lots of inspirational paintings and photographs during this stage, and try to get a palette in my head for the overall piece. I use the lasso tool to fill in their silhouettes with black and lock the layer transparency. The silhouette is very important for readability, so I make sure even without colors the shapes are distinct.
Step 4 | Rough Color Blocking. I block in base colors and basic lighting under the sketch layer, blocking in the different materials and colors.
Step 5 | The Fun Part. Here’s where I just get to zone out and paint. I flatten the sketch onto the color blocked layer (if you’re nervous, you can always duplicate these layers and tuck them into another folder before you flatten and commit) and finally get to painting. The sketch eventually gets entirely painted over. Things I’m thinking about during this stage: different materials, changes in planes, drawing from the background colors.
Stage 6 | Details. I use the lasso tool and fill to do very tiny details like scratches, small specular highlights, etc. I add some wear and tear and knock out a bit of Fulcrum’s teeth. (huhuhu)
Stage 7 | MOAR BLOOD. At this point I decided there wasn’t enough energon dripping off of Tarn and I added more on a new layer. Again, grabbing areas with the lasso tool, filling, and erasing parts of it to make it appear transparent.
Stage 8 | Lighting Effects. I add some soft glows to Tarn’s lights, but keep his forehead light the brightest. I want it to be the main source of light in the scene so I don’t want to distract. Light is bouncing through the pink energon, so I made the light falling on Tarn’s face more pink.
Stage 9 | Final Lights. I add a harsh white rim light to both of the figures, really pulling them away from the background to finalize the painting.
unglorified sobbing but also thankfulness and learning
Hello! Here is a little tip for Manga Studio 5 regarding one of my favorite features which isn’t immediately apparent. It has to do with vector layers and erasers.
First, create a vector layer by clicking the “New Vector Layer” at the bottom of the Layers palette:
Working on Etsy listings for the next round of commissionable fluffbots! Should hopefully have them posted later tonight
Edit Edit!: Mid-Tier Fluffs are Sold Out! They will list again after I complete the current order backlog.
Magnus is done! Wanted to get shots of him with the custom-crew and the mtmte-style third party folks I’ve amassed so far, too.
More info and bonus pic under the cut
Normally I post here first and crosspost over to my main when I make something, but i forgot this time.
Some hand references.
Redid a post by fucktonofanatomyreferencesreborn with sources because they never source anything and I don’t want to reblog that post because I don’t want to support blogs who don’t give credit to people
(No, stating that the art is ~not yours~ and ~came from elsewhere~ IS NOT PROPER CREDIT. Many of these have usernames and such on them but not every single one and you still ought to link back to the specific piece)
I couldn’t source the last one so I didn’t include it.
Foam and Worbla armour MEGA TUTORIAL
Tutorial by AmenoKitarou
Super duper awesome and helpful! I am totally going to try this out for my Garrosh cosplay.
YEAH GONNA NEED THIS FOR SYLVANAS HELLA
LOTS of breakdown references for myself and anyone else trying to learn how to draw the bae ♥
and also a note on his flexibility that i thought was neat and could be useful depending on what poses you want to put him in ;p