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Mini choco~


FFFF01 // Futuristic Fashion Femme Fatales

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Space Brush


Just a quick brush / texture I put together to learn how to make Sai brushes.



You can get the space texture here.

(via ptsbrushes)

Cape. 1912, French. 

House of Worth.

Source: Met Museum.

(Source: travellinganachronism, via art-and-sterf)


View the fullsize tutorial on DA | The most handy hair structure tutorials are this video by Proko and thisblog post.These are useful for thinking about the direction hair locks flow with different styles: 1 2 3 4 5 | Painting Realistic Hair | Shading with gradients: 1 2 | Tutorials by me including: Gimp Brush Dynamics, Coloring Eyes and Coloring Method.

All example characters are fromThe Silver Eye webcomic!

(via helpyoudraw)




Link to full size, it’s a big one

I said I have a lot of thoughts about shoes and the woeful mistakes even seasoned professional artists make with them, and I wasn’t kidding. Here’s a lot of words about high heels, in a constructive way. 

Courtesy of talesfromtheend

Oh wow, I never thought my jobs as orthopedic shoe papermonkey and artist would intersect, but a few added words of advice for ya.

1.A rocker sole is what you call it when you bevel a heel to make it hit the ground more smoothly as you walk.  Ever noticed how old shoes tend to wear out at the back of the heel?  It’s because that’s what hits the ground first, and if you don’t design the sole of your shoe accordingly, it gets really uncomfortable.

2. If the sole of a shoe is such that it won’t bend (thick platforms, steel shanks, whatever), then you NEED a rocker sole, or you’ll be stumping around like Frankenstein’s Monster.

3. If your character is missing toes, it WILL effect their gait.  Seriously, back at my old work place, a toe filler was more expensive than two pairs of shoes.  That  crap is serious.

4. Ditto leg length discrepancies.  If one of your character’s legs is shorter than the other, that’s okay!  Their shoes can compensate for that.  One shoe will just be on a platform.  A platform lift can be as small as a fraction of an inch to… god, I think I encountered eight inches once?  The trick becomes to have a supportive platform that’s not too heavy, at that stage.

5. If your character has a leg length discrepancy, for the love of god, DON’T JUST PUT THE SHORTER LEG IN A HEEL.  As the OP shows, a high heel completely alters the flexion of your ankle and posture; having only one foot like that is SO BAD for you.

6. That said, there are people who can only wear high heels, due to muscle or ankle weirdness.  It’s generally not a barrel of laughs, because being stuck in heels 24/7 is hard on the body, and a lot of things like orthotics aren’t made for heels and have to be specially designed.  Don’t try to use that as an excuse for your butt-kicking babe to always be in heels.

Ooh, interesting! Thank you very much!

(via art-and-sterf)


DISCLAIMER: I was going to make this “how to draw archery”, but that would probably have taken the rest of my life. This is all stuff I’ve learned from practicing archery in the past, and the tips I’ve given should translate to many, if not all styles of archery. If you take…



I was doing a bit of an anatomy study on my livestream and was asked to please post it. 

  • The crotch is the halfway point of the body from top of the head to bottom of the feet
  • Shoulders to hips = hips to ankles
  • Elbows rest at the waist line
  • Wrists rest at the crotch line
  • Shoulders and breasts/pecks should always be parallel, no matter what angle the shoulders are at
  • With boob placement, keep in mind where the collar bone, ribs, and shoulders are.  Breats have muscles that connect to the arm—hence why lifting an arm also lifts the breast corresponding with it.
  • Feet are the same length as your elbow to wrist.
  • There are two bones in the knee; the cap and a smaller one below it.  You CAN see them and adding that subtle detail is a really nice touch!
  • When drawing eyes, keep in mind that you should be able to fit the width of an eye between them
  • The face is broken down into thirds; hairline to eyebrows, eyebrows to bottom of the nose, bottom of the nose to chin
  • The halfway point of the head is at the eyeline
  • The mouth is 1/3rd of the way from the bottom of the nose to the chin
  • Ears are from the top of the eyes to the bottom of the nose
  • When drawing a 3/4th view of the face, do NOT MAKE THE FURTHEST EYE SMALLER — the perspective is too small to be noticeable unless you are doing extremely accentuated/warped perspective.  The eyebrows, top of the eyes, and bottom of the eyes should all be parallel regardless of the face’s angle.  The only differences should be the widths; front eye should be wider than the further eye.

Knowing the rules to anatomy is important!  Once you learn them, then you can break them. ( ≖‿≖)*

(via art-and-sterf)


If you would like to request a tutorial, you can do so on this post over here!
Eye Coloring Tutorial by me | Other Eye Tutorials: 1 2 3 | My Resource list for Faces and Heads

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Firaxis Games’ concept artist Sang Han Sang on how to give your digital art a traditional look and feel. [source]


Many people have tried using brushes that simulate analogue bristles, but they may not have thought about how the paint is applied. Traditional painters take great care in applying each stroke of paint, which has been thoughtfully blended to the right colour and value on a palette.

Since the digital medium is so fast and forgiving, we tend to dive right in without much thought and noodle around until something happens. I think this leads to muddy colours, and the energy of the initial gesture gets lost.


I begin with a rough sketch, trying to keep it loose and gestural. It’s difficult to think about design, colour, lighting and composition all in one pass so I break it down into steps and keep it simple at the beginning. These early steps are important because not only are they the foundation for an entire painting, but some of these strokes may show through in the finished work.


Here I create a new layer and change the mode to Multiply. I then paint on this layer with a colour that resembles yellow ochre or burnt sienna. This will help to gauge value and colour more easily than if it was a white canvas. I could have simply filled the layer with a flat colour, but again, the painted strokes may show through and add to the final painting.


In this step, I block in the local colours and start rendering. As I do this, I try to remember not to overly blend or noodle around too much, as mentioned above. One of my goals is to retain the energy of each brush-stroke and put paint down with a sense of conviction. Sometimes I put a single stroke down, undo it and repeat this process many times until I’m satisfied.


Keep in mind that you don’t have to render everything. You’ll notice in traditional paintings, certain details are kept as abstract marks. This adds another level of interest to the viewer. As you get closer to the end of the painting, lay the strokes down with lower opacity to give the effect of thicker paint. I like to do this when rendering certain accents, such as highlights.

(via artist-refs)


Vintage Fashion: How hats and hairlines alter contours




ANYWHO!!! more adoptables HO HO— gunforfeet did the lines for luck and rose witch + cyop cat— i coloured everything + made the bases >:^0

rosewitch is still available for 21 cash dollar more info seen here \ * D* / 

(via antiartblock)


Hey! So this all started as a simple random color script for Paint Tool Sai but now it’s starting to grow into something bigger!

This is SaiPal. It is a tool I wrote after reverse engineering Paint Tool Sai for so long and reads/writes directly to its memory to do a lot of cool features!


More info under the cut

Read More

(via eonresources)

(Source: simpatie, via art-and-sterf)



House of Lanvin



(via art-and-sterf)

(Source: love-palette)