Oh…Steve…

Lip Sync Tutorial Top Image Row 2 - 4 Row 5 Bottom Row

It was about time I shared my art tutorials from Patreon.

It has been literal years since I've done a tutorial.

Nobody actually asked for this, but for the first picture I did with this type of lighting I actually went and looked up some tutorials online... and couldn't really find any. So a lot of what I did in the first picture I used this type of light was me just throwing spaghetti at the wall.

I figured it out a little more in the second picture, and then I thought: y'know i would've liked to have a tutorial like this in the first place to get a good starting point for myself. So I made one. it is yours now. do what you want with it.

Absolutely!! 

Muzzles are one of my favorite parts of drawing animals/furry characters & really fun to draw expressions for. I always start to draw long muzzled characters the same way, by drawing two circles, one representing the basic shape of the head, and the second where the basic placement of the nose is going to be.

From there I sus out the basic shapes without worrying about details. things like the mouth and nose details I always add in last, since theyre less important in the sketching stage than the basic shapes.

For open mouthed or front-view muzzles I basically always use the same process. 

This same process also works for shorter muzzled characters as well

It took me a while to get good at drawing muzzles from different angles & stuff, but once you figure out a good method that works for you its WAY easier than it seems. the most important part of drawing muzzles is just understanding the shape of your characters face.

I hope that was helpful! I dont usually make tutorials but I tried to make this as clear as I could, my sketch process is pretty messy lol.

Slavic beliefs about treshold and hearth

The negative role of the treshold

“Together with the door, the threshold co-created a part of the border between the two fragments of space. It was placed in a point where the continuity of the boundary was breached. The importance of the threshold resulted from its dual nature: the separation of spaces and the chance to move between the two created areas. In symbolic thinking, the threshold could be identified (and metonymically replaced) with the critical points that occur when switching between two states of affairs (e.g. nature/culture, night/day) or personal statuses (e.g. childhood/adolescence, single/ married). Being a fraction of the boundary and the exponent of its crossing, the threshold had the characteristics of a border area, and therefore it was ontologically insecure. And so, because every crossing of the border was related to the risk of contacting the undifferentiated chaos of the underworld, or with touching the sacred, the threshold required special protection and the ritualistic behaviours.

The significance of the threshold in family rituals is quite clearly written in eth- nographic material. The threshold was one of the important elements of weddings or deaths, pregnant women were isolated from it. This boundary of the house did also need magical treatments. Apotropaic actions were also related to the thresholds of cowsheds and stables. The main motive of these activities was burying animals, coins, and/or unbaptized children underneath the threshold, or laying axes, garlic, brooms, knives, and/or herbs braided in a wreath on its surface.

Very few historical documents also describe the role of the threshold among Early Middle Ages Slavs. According to archaeological sources, its protective role (and, at the same time, protection over the whole house) can be confirmed by an auroch’s skull found in Gdańsk (circa 1230-1255), which was found near the south- eastern wall of a house, placed in parallel with it, in an alley between two hous- es; it could have been nailed to the top of the house as a hunting trophy. Wreaths made of twigs and hair could also fulfil an apotropaic function. A large number of wreaths made of phloem (9 pieces) was found during excavations in Gdańsk and Wolin. They were found on the streets, the square, and the vicinity of house walls in Early Middle Ages Gdańsk. Willow wreaths from Wolin were found near a wat- tle-and-daub house wall. In a nearby house some collections of wreaths placed on a corner peg were also found1. The wattle-and-daub buildings were built in the 11th and 12th centuries. They were 5 to 10 cm in diameter and were made of willow. A wicker wreath was in turn found in Szczecin inside a log cabin dating back to the first half of the 12th century. Identical wicker wreaths were present in Slavic buildings in Lund.

A possibly apotropaic meaning is connected with wreaths found in Gdańsk, Szczecin, and Wolin that were made of different materials, including horsehair. The incompleteness of archaeological material relating to the Early Middle Ages period does not allow to determine the exact role of this part of the house in apotropaic treatments. Deliberately omitted in this work is the ban on sweeping garbage over the threshold (the broom was treated as a cleanser), which is evident in ethnographic sources. According to Slavic beliefs the broom, when set on the threshold of a house or barn, defended the entrance against witches and protected from evil eyes.”

The symbolic role of the hearth

“The important part of the house was a place used for preparing meals and getting warm. According to ethnographic sources, the stove is a common component of beliefs and rituals. It was clearly a developed form of the hearth in the form of a fireplace and as such will continue to be considered, because fire was an inseparable companion of existence. Stanislaw Ciszewski assigned the following functions to the hearth:

1. it was a social environment and as such it merged individuals into a solidary group of people; 2. it was a symbol of life and existence; 3. it was a form of altar, and as such was an intermediary between a group of people and the spirits of their ancestors and the extrasensory world

The hearth discussed in this chapter has been treated in two ways: as a symbol of family life and spiritual life. The hearth constituted an integral part of life for a man and his family. It connected them to the extent that any important event was associated with it. In turn, the hearth manifested itself in spiritual life as the eternal worship of fire, seen as a god who must be adored. I am aware that this is an artificial division, but the clear application of it will help “organize” apotropaic magic activities connected with the cult of the hearth.

The fireplace or stove were a symbolic centre of family life, around which re- sided the guardian spirits of ancestors. Rituals associated with the hearth, which are the expression of a particular respect, have been observed in ethnographic material. The most archaic of them is the habit of “feeding” the fire, guardian spirits, clan, and family. These treatments are also confirmed by written sources, which speak about demons of destiny and a house spirit called uboże, which had to be taken care of by leaving food in right places. Also the available archaeological material of the Early Middle Ages allows to confirm the submission of different types of bloody and bloodless offerings near the stove and fireplaces.

Both atmospheric fire and the earthly one had sacred value, because the effect of contacting with them was the dissolution of all shapes, or, as a result, the liquidation of the opposition that characterized human oecumene: beginning-end, light-dark, right-left, and so on. This fire also had to be tamed by applying appropriate apotropaic treatments, which in this case took the form of prohibitions or commands with regard to handling fire. On the other hand fire, ashes, charcoal, or smoke were quite commonly believed to have purifying and protective powers. In the light of archaeological sources the worship of a deified fire within the house is probably the most difficult to detect. Over the centuries magical rites related to the worship of fire have changed. Perhaps the two vessels (from Wyszogród near War- saw and Radzim, Greater Poland Voivodeship) with special lightning-shaped and figural engravings on them were used during the protective magic rituals.”

Slavic protective magic in the Early Middle Ages on Polish territories by Joanna Wawrzeniuk

My opinion about Burne Hogarth’s ‘Dynamic figure drawing’

Some sketches and notes.

If you are artist that wants to learn anatomy or beginner artist and you are confused which resources to use to learn human figure you might find post helpful. 

This is my take on the book and I want to share some thoughts after reading the book and practicing the topics. There are good things and thing I didn’t like and wouldn’t recommend. Just to give you answer to the question if I liked the book. Yes I liked it. But I want to give you honest opinion on good and not so good things so you as a student or always learning artist can decide if you want to use this book to learn. Let’s start with things I liked. It’s a book that covers unique topic: drawing figure in deep space and drawing without reference. I also liked that it doesn’t represent academic approach. Author rather helps people who had academic background and still have problems with drawing figure that isn’t standing straight like soldier. This book can help you fight stiffness in poses and helps generate ideas for dynamic poses. It teaches you how to draw figure in deep space, meaning : helps you create illusion of depth. Approach to drawing human body is also interesting. Hogarth recommend starting from torso and then adds secondary forms : limbs. This books helps you understand body curves so you don’t need to know anatomy. Actually this is something I like and at the same time I am not sure about. It’s good to know anatomy first before you get into this book. I would say that perfect audience for this book is student who has academic background but can only draw people standing straight like soldiers. Hogarth’s books will help you to invent interesting forms and positions. Although you can’t take his anatomy literally. He has very characteristic style, that isn’t realistic but is believable. “Dynamic figure drawing” many covers male body and there’s very little about female body. It’s because female body just doesn’t look good. It’s like female’s version of male bodies. Doesn’t look very organic and remind me of ancient greek statues. Just to give you example : breasts looks like they are balls attached to the chest. Definitely look for some other source about female body. Overall you can find some great tips and topics that are not covered in other books. This book is for already experienced artists who wish to learn techniques that will expand their academic knowledge. For anatomy look at Bridgman and Loomis 😃 I tried to keep this review as short as I could. Let me know how do you like these kind of reviews and if you would like to see more post like this one in the future.

If you struggle drawing heads in different angles watch this!

OMG I found this video and it is a absolute goldmine! Its filmed by a Disney story board artist and they make drawing heads in any angle easy! now granted it takes practice to get this technique down but it soooooo helps.

The video below goes into deep details.

as requested- my zine about fat and plus size body types from instagram!💖 happy drawing everyone!

Zalipie, the “painted village” near Ternow. Houses are completely painted on the inside and outside by their owners. 1976.

Location: Zalipie, Poland

Photographer: Bruno Barbey

art resource masterpost! (2019)

A list of links to all the art resources I’ve compiled since I was thirteen, from Tumblr/Twitter/googling around. They’re not all specifically drawing-related but I’ve personally found them helpful to my art + actively used or learned from each of them. Links marked with a star (★) are ones I use often, or find the most helpful!

compare heights of human figures

textures

hairstyle photos, search by colour/style/etc.

★ pinterest of tons of character design & anatomy ref boards

models.com: just modelling news/photography but nice for portrait reference + diverse faces

★ tons of tips on drawing: @grizandnorm​ and also @etheringtonbrothers​ (also on twitter and instagram)

tips for drawing backgrounds (layout & perspective) - thomas romain

selective colour tool in photoshop (helps balance out colours) - @genicecream

going from B&W to colour using photoshop curves - @genicecream

quickposes: pose library for figure & gesture drawing practice, timed drawing

wetcanvas: forum for object/still life photo references

tons of varied human poses, can sort by pose type/age/body type/etc. (warning for nudity)

★ lookbook.nu: fashion lookbook, can sort outfits by style, occasion, etc.

timed and randomized photo references for figure drawing (warning: nudity)

easy lineart in photoshop - @okolnir

guide for facial expressions - @lackadaisy

tons of pose photography, categorized by pose - senshistock (deviantart)

more timed photo references: figure drawing, animal drawing, hands and feet, faces

★ PDF of the animator’s survival kit by richard williams: comprehensive book on animation fundamentals

adobe kuler: adjustable colour wheel, creates cohesive 5-colour palettes

★ perspective grid in photoshop - @chuwenjie​

interactive 3d models: human models & wooden figurine

youtube playlist of various art tutorials/speedpaints/etc. - @erinye

integrating lineart into flat colours - @dinduarte

twitter thread of general art resources (technical/fundamental skills) - @jovaline​

tips on drawing backgrounds - @jovaline​

simple nighttime lighting - @japhers​

tips for drawing kissing - @mud-muffin

★ mapcrunch: randomized (or editable) google street view, great for environment photo reference

catalogue of theater costumes sorted by clothing item/time period, great for historical clothing reference

google’s we wear culture: information about & catalogue of fashion/design/art collections

one perfect shot database: film screencaps, can organize by shot 

typefilmgrab: more movie shots

stretches to stop artist back pain (more important than half this list)

dynamic clouds - @amiamihan​

avoiding empty/“dead” spaces in comic panels - @hammpix​ 

tips on simplifying drawings for clarity - @hammpix

guide on making webcomics - @velinxi

twitter thread of storyboard/comic art resources - @nilaffle​

creating depth and distance in backgrounds - @mathiaszamecki​

★ croquiscafe: youtube channel that simulates figure drawing sessions (warning: nudity)

★ large PDF of storyboarding tips - @jimmortensen

another colour picker for harmonious colours

★ google drive folder of art book PDFs (anatomy & figure drawing) - @jijidraws

designdoll (free program for download): adjustable 3d human figures, better quality than online sites