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May 24 2017

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Please support me so I may continue making tutorials and guides for everyone!


HEAD’S UP ARTISTS THAT RESIZE IN PHOTOSHOP. This really saved my life. I’d noticed that gross halo around art whenever I resized something but never knew how to get rid of it til Onta showed me and ahhhhh. I’m just so happy there was a solution to it so I really hope this helps others out too!!
(also look at more cute bear faces I drew~)

YOU HAVE SAVED MY LIFE, I do some contract work often and I need to transform objects and layers all the time and I noticed this the other day that the quality of each element was going fuzzy and gross and It made me a bit like “oh crap wtf” 

thank you!!

For those artist nerds.

May 23 2017

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Lighting tutorial for the illustration Rooftops by Matej Jan

Part 1, The Story of an Illustration (process example)

May 22 2017

May 21 2017

My 3 Unfortunately-Secret Programs for Illustrators


There are a few programs I use on an almost daily basis as an artist and illustrator which I find invaluable, but that seem to be unfortunately more secret than they deserve to be. Which is too bad, because they solve a lot of small workflow problems that I think a number of people would find useful!

I’ll keep this list limited to my big three, but it is organized in order of usefulness. (And incidentally of compatibility, as the latter two are Windows-only. Sorry! Please do still check out PureRef though, Mac users.)

1. PureRef

PureRef is a program specifically designed to make it easier to view, sort, and work with your references. I actually put off downloading it initially because it seemed redundant– couldn’t I just paste the refs into my PSD files? Indeed, the only real barrier to working with PureRef is that learning the keyboard shortcuts and the clicks to move around the program takes a little while. But getting over that hump is well worth it, because it has some distinct advantages over trying to organize your refs in your actual art program.

Firstly, you’re no longer bogging down your actual PSD file with extra layers, nor having to fight with said layers at all– PureRef has no layer panel, so you never have to scramble to grab the right one. All images you paste into the program retain their original resolution data, so you can resize, rotate, crop, etc as needed without distortion. If you find yourself needing to adjust the values, color, etc of a ref image, you can just copy paste it into Photoshop, make your adjustments, and copy paste it back into PureRef.

The other great advantage is that you can toggle the program as ‘Stay On Top’ and keep it above Photoshop (or whatever else)– which was always a problem when trying to make a reference collage in a separate PSD file. I find that I just don’t look at my references as much as I should when they are on a second monitor, and this solves that problem.

I’ve used it religiously for about a year now, creating a new PureRef file for every illustration I do, as well as a few for specific characters, cultures, or settings in personal projects. As you can see in the example above, I like to sort my images into little clusters or ‘islands’ of specific content, so that I can easily scroll out to see the entire reference map, then zoom in to the relevant cluster easily.

There is one big tip I would suggest for using this program, if you have the harddrive space: As soon as you get it, turn on the ‘Embed local images in save file’ option. This will make your PureRef files bigger, but you’ll never have to deal with a ‘broken link’ if you move around the source files you originally dragged in.

2. Work Timer

This is such a simple little app that it doesn’t have a very formal name, though I think of it as ‘Work’ or ‘Work Work’ (for some reason.) It’s a timer that counts when your cursor is active in any (of up to 3) program you set it to count for, and stops counting when you change programs or idle. No starting, pausing, stopping, or forgetting to do any of those three things.

I use this one to accurately track my hours, both to inform myself and for commissions or other client work. At the end of a work session, I take the hours counted and add them to the hours I’ve already spent on that image in a spreadsheet.

I have it set to count my three art programs (Photoshop, Painter, and Manga Studio), so based on the settings I use, it doesn’t count time that I spend doing relevant work in my browser (such as looking up an email to double check character descriptions or ref hunting), so to counter that, I set the ‘Timeout’ option in it’s menu to 360. This means it will count to 360 seconds of cursor inactivity before it considers me idle and stops counting. Since it instantly stops counting if you switch to ‘non-work’ a program, I figure this extra time just about cancels out relevant time that it ignores in ‘non-work’ programs by counting an extra minute or so when I walk away from the computer to grab some water or what-have-you.

3. Carapace

I use Carapace the least of these three, since my work doesn’t often have a need for creating perspective lines. But when there is architecture involved in something, this proves invaluable in simplifying that process.

Carapace lets you copy paste an image into it, and then drop in vanishing points and move them around to create perspective lines. (Though you’ll want to scale down your full res drawing or painting a bit to avoid lagging the program.) Like with PureRef, fighting the shortcuts is the worst part of it, though for myself it’s more of an issue in this program because I don’t use it often enough to remember them. Still, it gets the job done, and it’s easy to adjust the points to feel things out until you get them ‘right’. Then you just copy and paste the grid back into your art program and you’ve got that information to use as need be on its own layer.

Of course, using Carapace isn’t a replacement for actually knowing how perspective works– you still have to have a sense of how far apart the vanishing points should be placed to keep things feeling believable. But it sure does save you a lot of trouble once you do have that knowledge.

So, there are my big three recommendations for programs to help your art workflow. I hope people find them useful– if you do, please share so that they climb a little higher out of their unwarranted obscurity! And if you’ve got a favorite tool like this that I didn’t cover, feel free to share it in the comments. I know I’m curious to see what else is out there, too. Also, if Mac users have any suggestions for programs that fill similar functions, feel free to share there as well!

My Website  •  Store  •   Commissions  •  Instagram   •  Twitter  •  Deviantart

May 20 2017

Attention ALL artists!





You sure have seen this post. It has spread like wildfire over the past few days so I doubt there is any artist out there who hasn’t seen it. But even if you didn’t, you should read on because I’m about to tell you a handy little thing that can help you to protect your art from such assholes as the anon who submitted this bullcrap, as well as art thieves in general.

The magic word is Metadata.

Metadata is like an invisible signature that is embeded into a file. It can contain all kinds of information, like Title, date, keywords for online seach engines, and copyright information. And the best thing is, since this information is “hidden” in the code of your picture, it’s hard to remove it.

There is a nice basic tutorial on how to add Metadata, or “additional file information” to your images in photoshop. It’s really, really easy so check it out!

“Adding Your Contact And Copyright Info To Your Photos With Photoshop” on PhotoshopEssentials.com

I’m not sure if you can do the same with any other art program. If you know how to do this in other programs / can confirm that it works the same way there, please tell me so I can add the information to this post.

Adding the Metadata will not stop idiots from taking and reposting your art. It also won’t make them stop editing out your signature. It WILL however, help you prove that you are the original artist whenever you have to.
Always remember my friends. You, the artist, are protected by law. No one has the right to take your intellectual property and hard work and repost, use or edit it without your permission. Ever.

art thief: well how can you prove its yours??

me: /opens metadata

I spread the word as it is important to all artist who ever suffered from art thieving or so.

You guys, metadata is super important, you guys. In an everday and legal sense. People legitimately look at and rely on metadata to know the basic, but important bits of information about a digital product (paintings, photographs, exe files, etc.), ESPECIALLY the source.

Don’t underestimate it!

May 19 2017

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#Knife #Knives #Cuchillo #Faca #Couteau #нож #ナイフ #刀#pisau #سكين

Modern Knife Types / Blade Shapes

For sources: http://sword-site.com/thread/1111/diagrams-modern-knife-types

Sword-Site - The World’s Largest Sword Museum

May 18 2017

(1) Starting animation


Supported by the help of Patreon

So I’m not going to pretend that I am the best animator, but there are a few things I learned that some people may find useful.

Basic shapes.


Seriously, use basic shapes when you start a complex animation! They help tremendously with establishing the movement of form. If your object is in the same plane throughout the movement, keep the size of their parts the same.

If you look at pro animators, their first starting point is almost always something lose and messy.

Add a little.


Don’t go overboard. Just add a few things on another layer. Again, you are just worried about the transition of form in the animation. Just use simple shapes. if proportions begin to be a problem, just copy and paste the part you are animating and morph it a bit.

Finish up detailing.


If there are a lot of things to worry about, just keep adding them on separate layers. Don’t try to draw everything in one go, it almost never works to your favor.

Ink and fill with color.


If something does not look right to you, you can always go back and change it on that particular layer. 

That’s pretty much the basics of how you would want to plan your animations. There are a lot of other things you need to worry about when animating, but that’s what I wanted to say about form.

If you’d like to see how I do specific animations, consider supporting me on Patreon (nsfw).

May 17 2017

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Teenage Suicide (Don’t Do It)

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Some color study notes of mine that might be handy for others!

May 16 2017

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How to draw a fist! 


May 14 2017

May 13 2017

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Process of the flag from the top of the Double King’s castle.

Step 1 was “animate the air” because I hate fun

May 12 2017

Tips On How to Write Characters with Wings (For both fanfic writers and original content writers)



So I’ve been reading a lot of fics lately where people are either

A) Putting wings onto canon characters

B) Making OCs with wings

So I decided that, with the influx of people who are writing winged characters (and therefore the influx of errors that come with writing winged characters), I’d make a little thing to help you slap a pair of wings onto anyone!

This is also a bit personal, too, because the MC in my upcoming novel has wings!

1. Know that there are a lot of types of wings to choose from

Part of being a writer is the desire to take something (whether it be a pre-existing work or an idea in your head) and make it into your own. So, instead of just going with the classic bird wings, why not spice it up a bit? If your character is an angel, you certainly don’t have to stick to the classic depictions of angel wings. Why not give them butterfly wings or dragonfly wings?

Here’s a small list of different types of wings to choose from:

  • Bat wings
  • Beetle wings
  • Bird wings
  • Butterfly/Moth wings
  • Dragonfly wings

Note that these wings are for animals who can fly. There are also animals who can “fly” that actually glide, such as sugar gliders and flying squirrels.

Yeah, so the options are pretty limited, but feel free to make up your own kinds of wings that aren’t necessarily based on a pre-existing creature’s wings!

2. Be familiar with the anatomy of your character’s wings and their limits

If your wings are completely unique, draw them out. A diagram or picture is key when it comes to things like description. I’m not gonna tell you what everything does and give you Animal Wing Anatomy 101, that’s for you to research. Know that there are different types of wings and that they have different uses, strengths, and weaknesses.

3. Never use the full extent of your research! 

Surprise, surprise!

“But wait, Maddy!” you cry, writing utensil in hand and poised to stab me. “I thought we were supposed to were supposed to show our research!”

Well, you are. Technically that’s not wrong. But, readers don’t want to know ALL of it. Over-described wings are sometimes worse than under-described wings; what sucks more than not knowing what a character’s wings look like is having to look up wing anatomy in the middle of the chapter!

Only use the most basic of vocabulary when it comes to describing the parts of the wing. Most of the time, you just have to say “bat wing” or “feathery wing” and the readers get the basic idea. (Like seriously, do you think the readers know what a dactylopatagium brevis is????? It’s a part of skin on a bat’s wing btw)

4. Don’t bring your character’s wings up only when they’re needed!!!!

Unless your character’s wings can fade away when they’re not needed, wings are a 100% real, 24/7 thing! It’s bothersome when writers mention the wings in one chapter and then only bring them up when there’s a daring escape that needs to be performed! Most of the time, I forget that the characters even have wings at all!

There is also the fact that wings aren’t all pros and no cons. If they’re functional, they’re probably big, and if they’re muscular, they’re probably bulky. If your character is clumsy, they’ll probably knock things over constantly, and if they’re not clumsy, they’ll still knock things over constantly.

Your wings are two (or four, or five, or six quintillion) extra appendages; they’re a part of your character! You don’t have to spend every second reminding the readers that they’re there, but don’t go long stretches of time without even mentioning them.

5. Your character’s wings can be a good way to indicate their mood or to provide for that little bit of description that you think you make be lacking

Why wouldn’t you want to describe the wings? I mean, you don’t want to describe every minute detail over and over again, but it’ll boost your word count a lot more than you think. They can also be used to convey your character’s feelings without explicitly telling the reader! It’s like a new set of facial expressions!

See? You can tell he’s wary and ready to fight from the movement of his wings! Also he’s crouching next to a dead body but that’s not relevant right now

Here’s a list of wing language (?) that you can incorporate into your story that will not only increase your word count, but will also add to the sustenance of your story!


  • Twitch
  • Flutter
  • Ripple
  • Fold tightly
  • Fidget
  • Flap


  • Flare
  • Bristle
  • Fluff up
  • Ripple
  • Beat
  • Raise up
  • Snap open


  • Flutter
  • Curl up
  • Ripple
  • Wave
  • Flap
During Battle
  • Bludgeon
  • Smack
  • Bat
  • Clout
  • Whack
  • Kick someone’s legs out from under them
  • Snap someones neck (only for muscular wings like bat and bird wings)
Problems that may come with having wings
  • Poke out from under blankets and let all of the cold air in
  • Stepped on
  • Get pins and needles from being folded for too long
  • Squashed on chairs/ in beds/ in crowded hallways
  • Vulnerable in battle
  • Molting (for bird wings)

Hope this helped!!!

This could be really helpful for anyone creating species with wings. 

May 11 2017





ELI SHOWED ME A COOL THING where it generates a skeleton in various angles for you !!!!!!

oh shiiiit it’s the ultimate warmup tool yesss thank you



This site is SO FRICKIN COOL!!! OMG I am ADDICTED!!!


May 10 2017

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important for any artist

Heck, show this to every man in the world who assumes he knows what boobs look like.

May 09 2017

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the angel of the underground

May 08 2017

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Super basic tips for interior environment drawing! @ask-witch-namjoon

I thought it would be helpful for people to know as well so im posting it up i hope you dont mind :’)

May 07 2017

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criminals who fall in mud always have to come clean

Why Krita is Awesome: A Collection of Reasons Why This Program is Worth Taking a Look At





Krita is a painting program that has been around for a while, and in the last few years, underwent major changes and improvements.  Because of these improvements, many artists are using it not just because it is free, but because it offers amazing features.  These are by no means all of the great things Krita has to offer, but simply some of my favorite features of the program.

1. The Brush Engines.

Yes, engines.  As in plural.  There are many.  And they all do different things.  There is no way you could possibly capture all of its possibilities with one screen shot, but here are just some of the possibilities. Along side standard round, square, and shape, and textured brushes, there are brushes that smear, blend, and create interesting abstract strokes.  There are brushes for filters, and one of my favorites, the Experiment Brush, which is basically a pre-filled lasso tool. 

Brushes also support weighted smoothing, or brush stabilizers.

This is incredibly useful for line art.  And while I do not usually use this feature, it is something that I feel many programs are lacking, such as Photoshop.

But its brushes aren’t the only thing about Krita with variety.

2. Color Selector Customization. 

Whether you prefer something basic, or something more complicated, Krita will likely have what youre looking for.  You are not likely to find yourself missing your other program’s color wheels.  There are even more options than this, and other color selectors.

Gotta love that customization.

Krita also has some great naviation tools.

3. On the fly rotation, zoom, and brush sizing.

With krita, zooming, rotating, and brush size scaling are all smooth, and dynamic with the use of hot keys.  These are features I miss when in other programs.  To zoom, Ctrl+Middle mouse button, hover over the screen to zoom in and out.  The same with shift rotates (press the ‘5’ key to reset rotation).  Holding down shift and draging your brush on the canvas dynamically changes its size, allowing you to see the change, and get the exact size you want without brackets. Brackets also work, if that’s what you are used to.  Krita also has highly customizable hot keys.

4. The Pop Up Pallet

The pop up pallet is a set of your 10 favorite brushes (which you can edit), and a built in color wheel that appears when you right click on the canvas.  It is incredibly useful for switching between those few brushes that you use in almost every picture.

5.  Real time, seamless tiles creation.

Pressing the W key in Krita will infinitely tile your canvas, and allow you to work real time on simple to complex tiled images.  You can zoom in and out to see how your tiles work form a distance, and paint freely to create seamless artwork easily, without having to check using filters and manually tiling. Very usefull for patterns, backgrounds, and games.

6. The Symmetry Tool

This one goes without saying, Krita supports both horizontal and vertical symmetry, along with a brush that is capable of radial symmtry with as many directions as you like.

Go nuts, kid.

There are many more reasons why this program is awesome.  And it is only going to get more awesome.  And the coolest thing about it, is that it is 100% free.  So go check it out!  There’s nothing to lose. Krita isn’t for everyone, it can be hard to get the hang of, and it is not meant for photo editing, it is a program completely focused on digital painting from start to finish. 

Give it a go and see if Krita is the program for you.

@deebott @pantheon-for-a-muse you draw and all so I thought of you guys 😘

I’m getting it today

@nerdyfanboy53 recommended this program to me but I had no idea if could do all this

May 06 2017

How to show expression with the mouth!


This was a request and at first I wasn’t sure if I had anything to provide with, but as it turn out it got a little longer than I expected because there were actually things I had to say!! Wow!! 

Anyway, this is some guidelines I follow when I try to make the face expressfull, more specifically the mouth! It is often neglected, since it’s actually pretty hard, I’ll admit. But I’m here to help (hopefully…)! A mouth expression tutorial as per request. Enjoy and hopefully it will help some a little. ʕ•ᴥ•ʔ

Draw the teeth at the right angle. 

This is super important. The upper jaw follows the angle of the head, and the lower jaw will depend on how open it is. Make sure you have a rough estimate of where the teeth are, and how much of them you’re going to see!

The lips will VERY roughly follow the same angle as the teeth. It really depends on the character, but it gives you a sense at least. 

If you DON’T do this, you’re going to lose so much volume and the mouth is going to end up looking unrelatable. I showed this example in this tutorial:

It’s not just the lips! 

The cheeks, chin, and tongue play a role too! 

Try look at your own mouth or references! I have a very pliable and large mouth, so that’s one reason why my characters have it too lmao.

ASYMMETRYYYYY (ง ͠° ͟ل͜ ͡°)ง

I cannot emphasize how important asymmetry is when drawing expressions. It applies not only to the eyebrows to achieve the Dreamwork Face™, but also the mouth. Seriously if you draw a symmetric mouth I will deliver myself to your mailbox and then shout at you until you fix it. 

Look at the difference between these two for example: which one has more “life”? 

I think you get the idea.

Push and squish - give it flow

Here’s an old drawing I have but it illustrates how I think when I squish the mouth, and use folding and wrinkles to my advantage.

Look at your own face and see where skin bundles up, where it creases the most and when bumps appear on your chin. Subtle details makes all the difference! 

One VERY effective detail is illustrated in the first sketch, where I pull upwards on one side, and downwards on the other. That’s a good detail to use when the character is making a skewed expression, or is extremely frustrated. I encourage you to play around with that concept bc it’s ~super effective~!


Happy: Your entire mouth is pushed upwards, not just the corners of your mouth!

I tend to draw a :3 mouth bc I’ve been drawing Lance too much….. You don’t have to but it’s basically imprinted in my motor memory by now. 

Pouting/frowning: corners are pushed down, middle pushed slightly up. Sometimes, there’s a slight dip in the middle too. It can give a sense that the character is biting their lips.

Showing frustration/intimidating/is intimidated: basically showing a lot of teeth. The corners are as open as possible and the middle sorta more squished. An extremely important detail here is showing some of the gums, and open space between the cheeks and teeth. That way it looks like the mouth it open to it’s full potential. Here is also where you basically MUST add folds and bumps, or else it’s not going to look relatable. 

(Here I am again with the pulling upwards on one side and downwards on the other, as illustrated on the last sketch)

And then again, here’s just another doodle showing how important it is to show the gums. It’s the same face twice, but the second one looks slightly more frustrated doesn’t it?

(from my other tutorial on how to draw facial expressions)

As you can see, this last one is very versatile and I draw it a lot. Play around with the basic shape and see how much subtle details makes a lot of difference! 

That’s it! 

I hope that cleared some things up and was somewhat helpful! Enjoy drawing ✨

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