I'm Kinda Ashamed To Ask This, But Could You Make A Tutorial On How To Draw Hands? ;A;

I’m not really good at explaining or teaching things… so… Here you go. This is more like an example of how I draw noses, rather than how you need to draw them. I mean, it’s pretty basic, but maybe some artists have other ways to do it }: ? I hope it at least helps a little bit! (nothing fancy, but… yeah). sorry it took me so long to produce this half-assed thing }X D

Do you have any advice for maintaining a celebrity's likeness in a drawing without compromising your art style? When I try to draw real people they look completely different from how they should be and my art style ends up totally skewed as well. Thanks in advance!

This is a tough skill to develop! but with some hard work and research you’ll be able to do it!!!

 My recommendation is to study professional caricature! Even if the end goal isn’t to do exaggerated crazy portraits of the the celebrity, studying the art form can help you learn to apply those concepts more subtly in your own style! 

The key element of caricature is studying a persons face and looking for what makes them unique or different from the ‘standard’ anatomical face model, eg how do their proportions stray away form the ‘rules’.

once you take note of these things experiment by exaggerating them in different ways through quick thumbnail sketches 

thumbnails by Court Jones for Proko.com

They might not look like the person right away but keep experimenting! trial and error is your friend!!!

(for more info on Caricature the Proko youtube channel has a whole in depth series by Court Jones the artist above!  I  Highly recommend checking it out and the other lecture series the channel!)

Once you have done this research you can apply it to your style and design the celebrity just like the design team on Netflix’s BoJack Horseman designed Character actress Margo Martindale! She and many other celebrity cameo’s on the show look like themselves but also like they belong in the world of the show!

The final thought I want to leave you with is: don’t worry too much about art style or let it get in the way of learning new ways to draw. There is a lot of pressure on the internet to find your own unique art style and have everything be consistent all the time but this thinking can actually get in the way of your artistic growth if you focus on it too much or to early. 

I Personally dont care about consistency at all in my art, I design the style of the drawing based on the project (eg. am I  going to animate this character, is it an illustration, what age group am I targeting? what Genre? if you want to see examples of this I have plenty on my instagram)

I have a lot of feelings on the topic of art styles but I dont want this post to be essay length or take me a week to write so please watch this video by Kesh on youtube about it : Stop Trying to Find Your Art Style He talks about this issue way more clearly and concisely then I ever could!

Hope this Helps!!! 

-Mod Todd (ko-fi) 

LITERALLY the most Lynch thing i’ve seen

Quick art tip - child proportions

Ok this is a real quick one but let me show you how to get more-or-less accurate sizes for child characters. Kids are tricky to draw, they are - from toddler up to about teens people change radically almost every year so pinpointing character’s size during those years is pure hell.

What you need to do to make everything super easy for yourself is to check their Head Proportion. What makes kids look like - well, kids, is that their heads are proportionally large in comparison to their body.

Average adult is about 7,5 heads tall in comparison to their own body, however with children under 10 that number is just under 6 heads with about 1 head shorter the younger you go down to 3 heads as an infant.

Easiest way to figure the so-so head-height of a certain age is to find images of said age group and do a quick count on them

at which after you can replicate it in your own works - don’t mind if it’s not 1:1 with reference, finding images that are actually of the age you need is tricky and kids in general vary a lot so someone might be a lot taller than others. You have a bout  0,5 -1 heads of wiggle room before it starts to look way older.

Proportions are super important in art and i lovingly recommend everyone to figure out basics of them - it’s the easiest way to get notifically better with art. I could go on about proportions but let’s wrap this up. Need to note however that head proportion is not same as character height - a character can be 15 feet tall but still have head-height of 6, HH is simply a way to scale out the body.

color blob effect in clip studio paint

hey! >this post< got a some attention and i saw a tag asking for the tutorial, so i decided to go through with it. here’s that tutorial!

tutorial below the cut!

Czytaj dalej

How to draw feet by zephy.fr

Support the artist and follow them on instagram!

Quick art tip - child proportions

Ok this is a real quick one but let me show you how to get more-or-less accurate sizes for child characters. Kids are tricky to draw, they are - from toddler up to about teens people change radically almost every year so pinpointing character’s size during those years is pure hell.

What you need to do to make everything super easy for yourself is to check their Head Proportion. What makes kids look like - well, kids, is that their heads are proportionally large in comparison to their body.

Average adult is about 7,5 heads tall in comparison to their own body, however with children under 10 that number is just under 6 heads with about 1 head shorter the younger you go down to 3 heads as an infant.

Easiest way to figure the so-so head-height of a certain age is to find images of said age group and do a quick count on them

at which after you can replicate it in your own works - don’t mind if it’s not 1:1 with reference, finding images that are actually of the age you need is tricky and kids in general vary a lot so someone might be a lot taller than others. You have a bout  0,5 -1 heads of wiggle room before it starts to look way older.

Proportions are super important in art and i lovingly recommend everyone to figure out basics of them - it’s the easiest way to get notifically better with art. I could go on about proportions but let’s wrap this up. Need to note however that head proportion is not same as character height - a character can be 15 feet tall but still have head-height of 6, HH is simply a way to scale out the body.

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

Patreon: [patreon.com/lunaartgallery]

My last drawing tutorial was back in 2017, whoa, welp it looks like my drawing skills have gotten better. Since I have some more spare time, I will be doing new/updated art tutorials revisiting some of my previous topics.

I’ll post the tips publicly but my reference material and examples will be Patreon exclusive. If you like these tips and want to see more, support my Patreon! It allows me to focus on more material like this and I would really appreciate it .

Thanks! ——-—— Devi: [deviantart.com/miss-noidentity] Twitter: [@LunaArt_Gallery] Instagram: [@lunaartgallerys]