1. johnrezas:

    Permission granted…

    (via spookaloid)

    Tagged #reblog #refs
     

  2. PSA for everyone writing term research papers right now

    sapphiretemplo:

    dynastylnoire:

    carryonteamfreewill:

    Mendeley is the greatest program ever

    I want to weep with joy every time I use it

    Just click a button when you pull up an article and it will automatically save it to your library

    And cite it for you

    And you can use it on your mobile devices

    And it’s free

    Just download it and you won’t have so many urges to kill everyone in sight while writing a research paper

    image

    Thank you so much!

    for the students

    (Source: barelyfunctioningangel, via ryangooddays)

    Tagged #reblog #refs
     
  3. vocaloidpics:

    David Letterman is going to have a fascinating guest on The Late Night Show October 8th…

    That’s right! It’s the blue-haired diva herself HATSUNE MIKU!!!! 

    The official MIKU EXPO Twitter announced that the popular variety late night talk show, starring David Letterman and Paul Shaffer, will have Miku perform to show off the technologies of how a live concert would work. This is likely to promote the MIKU EXPO event which takes place a few days after that show. 

    It’s good to know that Miku is expanding to places we never thought imaginable! 

    (Info taken from MikuFan)

    (via ryangooddays)

    Tagged #reblog
     

  4. okolnir said: HEY HELLO i read your cintiq woes and I'm sorry to hear the trouble ;-; if you dont mind me intruding, I personally prop it up at 75-80*, and a little further into the desk so I can rest my elbow on the desk, the pinkie end of my knuckle against the cintiq, and maneuver the pen using my first 3 fingers only, with the knuckle as my pivot. or for longer lines, my elbow as pivot. I feel like this would be a relaxed stance since very few muscles are actually involved in maintaining grip. good luck!

    okolnir:

    cryptovolans:

    thank you so much Shilin! I actually haven’t tried this yet but it seems like an excellent idea (Ive had mine right on the edge of my desk so I’m sure that’s contributing to the soreness I’ve been getting in my forearm area) 
    I’ll probably let my arms rest up for a little while and give that a try before I give up on the cintiq all together, because I really do love it and wish with all my heart that I could use it without ruining my arms! I’m also publishing it so that anyone else that’s dealt with similar problems might try it this way!

    I’m going to reblog this here too since it’s posted, I hope it might be helpful for anyone who is fighting a downhill battle with their cintiqs or are looking for ideas on how to deal with such a big chunk of metal on their regular size desk! I’ve also changed my setup earlier this year since I took down my gargantuan desk and I want to share my current setup: (please ignore my tetris keyboard)

    image

    image

    I feel that putting the cintiq up this way, rather than flat on the desk or at a lower (<45*) incline, saves space and prevents the user from hunching over the cintiq to induce neck/back/shoulder strain, as well as minimize your contact with the cintiq screen (for heat complaints), all the while still allowing you to rest the weight of your arms on multiple points, just as you normally would be able to if you were drawing on paper. when I need to draw pages on paper, I still have enough drawing room by shoving the keyboard in.

    Tagged #reblog #refs
     
  5. psdo:

    lillivati:

    hanbei-l-of-ransei:

    psdo:

    *shrug*

    important for any artist

    Like this is legitimately interesting and I’m not trying to make a point but honestly curious- why do artists apparently draw women as male torsos + breasts??0

    because apart from amount of breast tissue, all humans have the same chest anatomy. If you ever have the opportunity to look at cadavers, without skin and fat we’re all basically identical.

    (via crossyloid)

    Tagged #reblog #refs
     

  6. Anonymous said: How do you know which color is best for the lights and which one is for the shadows depending on the tones of the skin ? I'm an artist too and i always have a hard time trying to figure out which color i should use. (Btw, your art is AMAZING !!!)

    euclase:

    The best way to tell you is to show you, so here my friend the former General Obi-Wan Kenobi, who will help:

    Skin color (and this pretty much goes for any human skin color in almost any ordinary lighting) is

    • lower saturation yellow at its brightest
    • higher saturation orange/red in the middle
    • lower saturation brown/gray at its darkest

    That’s really it?

    Skin gets pinker and redder where there are more blood vessels closer to the surface (lips, ears, nostrils, eyelids) and grayer and bluer where there are less, like your jaw.

    But even if the person has very dark skin, and they’re standing in some blue light, it’s still pretty likely you’re going to find the same pattern of [low sat, high sat, low sat] or [yellow, orange, gray].

    If you’re drawing by observation, and you get stuck, it’s a way to check yourself.

    I hope this helps. D:

    Tagged #reblog #refs
     
  7. leseanthomas:

    Here’s some of the most amazing and invaluable advice you’ll most-likely ever get from one of my good colleagues and legends in comics/gaming, creator JOE MADUREIRA. It’s what i’ve been preaching to you aspiring artists since i arrived on DA, but i think his POV says it perfectly:

    *WARNING: SOME MATURE LANGUAGE*

    "DO YOU REALLY WANT TO BE A SUCCESSFUL ARTIST? 


    Or a successful WORKING PROFESSIONAL?



    Believe it or not there is a difference. I’m not usually a soapbox type guy, I don’t like instructing people, and I think I’m a terrible teacher. But hey, it’s Friday and I’m in a strange mood. So here goes:

    I’ve noticed that a good number of my fans happen to be aspiring artists themselves. This is for all you guys. I get asked constantly: "Where should I go to school?" "What classes should I take?" "What should I study for anatomy?" "What pencils and paper do you use?" "Should I be working digitally now instead of traditionally?" "How do I fix my poses? Learn composition? Perspective?" "When am I going to develop my own style?" "Who were your influences?" "Teach me how to draw hands!" The list goes on…


    Here’s the deal. All of that stuff *is* important, and it may nudge you in the right direction. A lot of it you will discover for yourself. What works best for one person doesn’t work for another. That’s the beauty of art. It’s personal. It’s discovery. DON’T WORRY ABOUT ALL THAT CRAP!

    Instead I’m going to answer the questions that you *SHOULD* be asking, but aren’t. These are things that have only recently occurred to me, after doing this for 20+ years. These things seem so obvious, but apparently they elude a lot of people, because I am surprised at how many ridiculously talented artists are 'failing' professionally. Or just unhappy. The beauty of what I’m about to tell you is that it doesn’t matter what field you’re in or what your art style is.

    In no particular order:


    1) DO WHAT YOU LOVE. If you are passionate about what you’re doing, it shows. If you’re having fun, it shows. If you’re bored, IT SHOWS. Some guys are able to work on stuff they have zero interest in, and still pull off great work, but I find that when I do this my motivation takes a huge hit. And Motivation is key. Money is not a great motivator. It’s temporary like everything else. And honestly, I’ve gotten paid the most money for some of the shittiest work I have ever done. That may sound awesome, but it’s not. And here’s why…

    2) You MUST stay Excited and Motivated. Have you noticed that there are days you can’t draw a god damned thing? And some days you feel like you can draw anything? It’s 4am but you don’t notice because you are in the ZONE. Your hand is racing ahead of your mind and you can do no wrong?! Maybe it’s some new paper you got. Or a new program you’ve been wanting to try out. Or you just found some amazing shit on DeviantArt, or watched some movie that just makes you want to run straight to your board. This relates to the above because while it is possible to involve yourself in projects you aren’t excited about—maybe you need the cash, or think it will look good on your resume, whatever it is—it’s not going to last. You need to stay fresh. Expose yourself to new things. New techniques. You should be getting tired of your own shit on a fairly regular basis. Otherwise other people will.

    3) Check your Ego. If you think you’re the shit, you’re already doomed. You may be really, really good at what you do, but there’s someone better. Sorry. There’s always plenty to learn, even for us old dogs. So when I meet young upstarts who have this sense of entitlement, or a know-it-all attitude, I just have to laugh. Some of the biggest egos I’ve ever witnessed were from people who have accomplished the least. Meanwhile, most guys who are supremely talented AND successful, and have EARNED the RIGHT to have an ego and throw their weight around, don’t. Why is that? It’s because…

    4) RELATIONSHIPS ARE IMPORTANT. This may be one of the biggest lessons I’ve had to learn. Early on, I didn’t value my relationships with people. Creatively or otherwise. I felt like I didn’t need anyone’s help and I could figure everything out on my own. Let’s face it, many of us become artists because we are reclusive, social misfits. We’d rather stay inside and draw shit than go outside and play. We like to live inside our own minds. Why not?! It’s awesome in there! And sometimes we don’t want to let other people in. But like I said—you can’t do it alone. I can honestly say that as much as I try to stay current, as much as I try to push my work and draw kick ass shit that will excite people, I would not be where I am today if it weren’t for all the other people I’ve met and learned from along the way. Guys who pulled strings for me. Took risks on me. Believed I was the right guy for the job. You need to manage your relationships. You need to network, and meet people. Drawing comics is still a pretty good place for reclusive types—but if you want to work in big studios—Making games, Films, animation, basically any other type of job on the planet, you’d better start making some connections. Be likeable. Be professional. That doesn’t mean be an opportunistic ladder climber. Fake people lose in the end. Be yourself, but be professional. It’s no secret that when people are hiring, our first instinct is to bring in people we know. It’s human nature. I don’t like unknowns, even if their portfolio is awesome. If we have a mutual connection, if they have great things to say about you, you’re in. If you have AMAZING artwork to show, and I call your last employer and they tell me what a pain in the ass you are to work with, you’re done. Talent and skill only get you so far. I am literally amazed at how often I meet guys that are total assholes and think they are going to get anywhere.

    5) Here’s the BIG ONE. The greatest obstacle you will ever have to overcome IS YOURSELF. And the Fear that you are creating in your own head. Stay positive. Stop defeating yourself. There are artists I know that are so damn good they make me pee my pants. I look up to these mofos. I study their shit and I want to draw like them. And they are almost NEVER working on their DREAM project. And—big surprise, they aren’t happy in their job. “Why NOT?! WTF is WRONG WITH YOU?!” is usually my reaction. And the answer is almost always "The market isn’t great right now" "Other stories/games/comics like mine don’t do very well" "The shit that’s hot right now is nothing like mine, It’s just going to fail." "I’m not sure I’m good enough." "I need the money." "Too Risky." "I tried it before and failed. " It doesn’t matter what words they use, they are afraid for one reason or another. I know. I’ve been there.

    But here’s the deal. YOU NEED TO TAKE RISKS. Guess what? YOU ARE MOST LIKELY GOING TO FAIL. If you want it—REALLY want it, that won’t stop you. You will learn A LOT. My good friend Tim constantly jokes about how I jump out of planes without a parachute and worry about the landing on the way down. You may think that I’m lucky, that it’s easy for me to say because I’m already successful, that I’m in a different situation than you all are. But it’s not true. Risk is risk, no matter what level you’re at. If you’re already successful, you just take even bigger risks. But they never go away. Everything in life is Risk vs. Reward. Not just in your career. LIFE. You’d better get used to it.

    I didn’t know what the hell I was doing when I got into comics. I left the #1 selling book at the time ( Uncanny X-men ) to work on Battle Chasers during a time when 'Conan' was about the only fantasy comic people knew. And no one was buying it. I wanted to work in games, so I started a game company. I had NO IDEA WTF I was doing. I just wanted it, really bad. We tanked. It failed. No big surprise. But the people I worked with got hired elsewhere and rehired me. I started ANOTHER game Company. We had 4 people and a dream, and some publishers wouldn’t even meet with us, because their ‘next gen console’ teams had 90+ people on them. I literally got hung up on. "Stick to handheld games, it’s smaller, maybe you can handle that…" one MAJOR publisher told us. I don’t blame them. But we didn’t let it stop us. Thank god we didn’t listen to them. Vigil was born. Darksiders happened, AND we got to make a sequel. It stands shoulder to shoulder with the best games in the industry, and the most elite and experienced game dev studios in the world. How is that possible?!!! Hardly any of us had even worked on a console game before. I’ll be honest, I was thinking we would fail the whole time. I just didn’t care. If I had to play the odds on this one, I’d bet against us.

    Why am I telling you all this shit? This is not me patting myself on the back. It’s just stuff that has somehow only dawned on me recently when it’s been staring me in the face for so long. I feel like I need to wake you guys up!!! I’ve been limiting myself. I’ve gotten afraid. I’ve taken less risks. I saw my career going places I didn’t want to go. I wasn’t happy and I wasn’t excited. And I’ve realized, that all that stuff I just talked about is the reason I am where I am today. Not because I have a manga style, or I draw cool hands, or there’s energy in my drawings, or all the other things people rattle off to me. There are other guys that do all that same shit, and do it better. And amazingly, those same guys constantly tell me “Man, I wish I could do what you are doing.” “SO DO IT!!!!!” PLEASE listen to me—because I want you guys to make it. I want to look to one of you people for inspiration some day when it’s 2am and I need to keep drawing. Stop worrying about all the other stuff—the pencils, the paper, the anatomy, all that shit. It will only get you so far. You’ve already got most of what you need. I hope this helps some people. From the bottom of my heart, thank you for all the support over the years. You are all one of the greatest motivating forces in my life and my career. Sappy but true. Ok, let’s go draw some shit!!!”

    (via lacylocks)

    Tagged #reblog
     
  8. kennoarkkan:

    shadyfolk:

    amaipetisu:

    A few tips everybody should consider. I’ve experienced all those and some more. I’m not good at english but I hope you get it. Go and support some artists out there and let them draw you nice shit. Not as nice as FairyNekoDesu but still will be cool so give them a chance and you’ll be surprised.

    THIIIIS.

    All of these things.

    Especially the deadline. If you don’t have a deadline thats way in advanced it’s not gonna get done by then. I am almost always taking on a ton of projects at once and sometimes need a break from it to: work on stuff for me, work on stuff for friends, search for jobs, be the work slave of parents, actually relax and try to relief stress, technical difficulties, researching on how to do stuff, ect.

    Sometimes it’s done in a day. Sometimes it’s done literally a year later. But I always update the people I work with so they know I haven’t forgotten.

    Do NOT rush your commissioner. Let them work at their pace and it will be worth it. Rushing them insures a rush job which will very likely make the quality decline.

    All this is true. Also, ref sheets are the most important thing ever. I can’t stress that enough. They make the job A LOT easier (instead of having to compare 10 different pics between each other and see that everything fits, you just look at 1!!)  If you plan in commissioning your character a lot, or even if its not yours (like from an anime or something) Either commission one or look for ref sheets of the show (because there are!).

    Also i strongly suggest not using Instant Messaging. Information can be lost pretty easily there and it’s hard to come back to it. Use emails instead. The info stays there, and it’s easy to search for it. It’s also an excellent way to keep track of the descriptions, so if either the client or artist made a mistake, you can see the email threads and see who’s right straight away.

    also pushy clients LOVE instant messaging. Pls no.

    (via subasequel)

    Tagged #reblog
     
  9. frenden:

    My wash brush set is now the Paints & Wet Media super set! 100 brushes! Reblog for a chance at a free set!

    Get it here!

    The old set contained nine brushes. The new set contains one hundred. That’s more than ten times the brushes of the old set! Oils, acrylics, wash brushes, digital concept art brushes, and more, all for Manga Studio 5 and Clip Paint.

    NEW Concept Painting brushes designed for digital character and environmental art workflows.

    NEW High Res Wash brushes with detailed, high resolution repeating patterns for more convincing digital watercolor work.

    And a heap more! I’ve consolidated existing sets and added new brushes to simplify things moving forward. All my paint and wash brushes are now in one place.

     
  10. thiswouldgogreatwithsomerosemary:

    junk-os:

    sometimes your 13-year old self teach you things. good things.

    re blogging for the artists that follow me

    (via spookaloid)