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From Miffbee:

(on green sphere)

"A reference can give you far more specifics than I ever can. See how the light falls over the balls, where it cuts off precisely, and where the highlight is. Think about the texture of the ball, as well as the surface it’s on. Pool tables are generally velvet, so in some photos, the cast shadow is fuzzy. This one is fairly sharp.

Consider where the light is, or rather, where it has to be considering the location of the highlight and the cast shadow. Can you see what’s wrong now? (for the highlight to be where it is, the shadow should be much smaller; also, the ball appears to be hovering off of the surface)"


"This one doesn’t have the hovering issue — but there’s shadow missing between the (2d) bottom left corner of the cube and bottom right corner of the image. It’s very bright in here — is there an ambient light? What is the setting made of? What would it have to be made of to be very bright, but still cast a stark shadow? (fluorescent material?)

Learn about raytracing — not necessarily the math, just understand the general concept. It’s the applied physics of light. Helpful."


From Snarky:

"I apologize for my god awful handwriting.

This is mainly as my weird attempt to help explain some of the basics with light and shadows for Cupcake. Even though I did a really bad job at actually explaining some things in particular.

I kind of also contradict myself in my notes on cast shadows. So to rephrase what I said, I personally see cast shadows as a part or as an extension of an object that is affected by its surroundings that acts as sort of a grounding implement for an object.

It’s kind of like a silhouette that is affected by the environment such as the type of lighting in the area and what surfaces it lands on. I say it’s like a silhouette because cast shadows tend to be similar to object it belongs to. 

Shadows and lighting on an object are affected greatly by light sources.

For example: if your light source is directly above or nearly directly above, your cast shadow tends to be much “shorter”/closer to the object compared to if the light source was at an angle that isn’t as steep. (IF THIS MAKES ANY SENSE) OR if there are multiple light sources, you can sometimes get multiple cast shadows or the shadows in general are relatively weaker and stuff. UHH. In all honesty, working with multiple light sources is easier to figure out when you learn from observation rather explanation.

I have no idea how helpful this is. OOPS"

and the art-resources blog Snarky runs: art-resources.tumblr.com

From Arma:

-Generally, outdoor light is blue and indoor light is yellow
-Layer settings blend the colors you're using for hilights and shadows with the layers below so you don't need to mess around with different colors for different-colored parts of the picture. It's good to use different colors for shadows and hilights rather than making a darker version of the color and using that to make the shading more dynamic; however, the shading will also be affected by the environment in the picture, so keep that into consideration.

Interactive reference for different expressions: http://eyedrawthings.com/?page_id=3


All pictures lead back to the original source unless stated otherwise!

The next three pictures are from this person! Click for the full version of those images. :)


Wasn't able to do anything yesterday since I was tired, but here's some studies and a WIP!

This is a quick study that I applied to this...

And this:

The anatomy is wonky and there are some things that need fixing, but it's a work in progress for a reason! It's a cyborg version of me, aka LYSABot (originally referred to her as CCBot and Lyssabot, but I think LYSABot is cooler. Can't think of what LYSA stands for, though!) It was originally a vent picture inspired by the Stars song, "Sad Robot," but then my mood improved and now it's intended to be the panel of a minicomic for someone. I'm honestly not too familiar with the concept of designing robots, but it's fun! The process involves a lot of improvisation and going with what you like (for me, anyway), and I enjoy it. I was intimidated by it at first, but now I'm honestly finding the concept of drawing humans boring. :(

Actually, I'm fine with drawing humanoid things like this and skeletons. It's just...drawing actual humans has become old. I'll still be doing skeletal structures and trying to improve my ability of drawing humans, though!

I realized I haven't posted that reference post yet, so I'll do that tomorrow when I'm NOT about to go to bed. Looking forward to drawing yet another cyborg tomorrow and finishing up that piece, and hopefully I can get some skeletal studies done also!

SKETCHBOOK PAGE: 01/05/12 - 01/08/12


Mostly silly doodles!

This picture taught me a bit about bee anatomy! It was hard at first since the diagrams I was looking at seemed complicated, but I've learned to simplify it for future reference. Inside joke with a helpful cyborg friend.

Cyborg sushi! Another inside joke. 8D

Quick doodle of one of my characters since I felt my style had changed and was curious to see what would happen if I drew a person.

The doodles from 01/06 are in my shape study post.


Originally a reaction pic to a stream armaina did for me, but then the NIN song "Meet Your Master" came up and I thought the lyrics were funny when combined with my expression.

And the reaction to the information she gave me:

I tried to do a painting of the mug I use for my chocolate tea! Lots of experimentation with layer settings, as well as trying to imitate the texture of my desk. I'm very proud of how this turned out, despite the mistakes!

I decided to challenge myself by drawing a food I really like, but it was harder than I expected! I knew steaks were textured, but I didn't expect for it to be as difficult as it was to put that into the picture. I'll have to learn to stylize food. I'm also extremely proud of this - especially since I haven't done anything like this before.

I attempted to study the skeletal structure of hands on Saturday, and had difficulty with drawing all the bones in the hands. I was thinking of just studying the shapes that make up a hand or a simplified version of a hand's skeletal structure, but I think trying to draw the actual structure will help me understand hands even more and aid me greatly when I'm trying to draw them. Hands are something many artists seem to struggle with, myself included!

Truthfully, I've been tired and haven't had sufficient energy for things asides from doodles like these, but I'm determined to accomplish this month's goals! And even the stuff unrelated to the things I want to accomplish this month have helped me greatly.
Although my goal this month has been trying to focus on skeletal & muscular studies, I've been feeling like drawing solid shapes and doodling silly things. I've been using it to my advantage by trying to get an idea of how shading works, and my friends have been giving me critique too!

There are a lot of other pictures I drew in the same timespan of the digital paintings on this page, and I will post those later to avoid having such a massive post. Critique and references I've received from friends will be in a separate post also.

The shapes I drew were from memory, with this page from my sketchbook from 12/29 in mind:

And while we're at it, here's an unfinished skeletal study from earlier this month, with some head studies on the side! Even simply drawing skeletons offers some insight and can be educational. I've made a mental note that legs do NOT go straight down like that, and plan on redoing this later today. Drawing the ribs confused me a LOT, and I've also made another note to be careful - maybe be lighter on the pencil in the initial sketch?

The head studies were referenced from a page I saw going around from a Loomis book.

Shape studies from 01/06/12:

A friend of mine saw my studies and gave some very helpful critique! I tried to follow it in this picture, drawn later the same day (and I forgot to show it to them, whoops!):

I've decided to upload my old art to show how far I've come, and to encourage everyone to keep going! I never thought I was as good as I was today. Here's the earliest drawing of mine I've found! I'll upload the rest later.

December 2004: A Christmas gift I made for some artists on DeviantART I looked up to!

February 2005: "Blossom waiting for her turn to play DDR on the PS2."

April 2005: "Pudge and potions"

June 2005: "She is one of the bad guys of my series, Element Angels. She is a catgirl and the twin of a catboy named Glacer." Her design was based off mint chocolate chip ice cream (favorite ice cream flavor at the time, if I remember correctly), which is why she has spots in her hair.

August 2005: "Pac-Joe"


Year Goals

-Gain an understanding of the human figure and its anatomy

-Understand how light is reflected off objects, how shadows are formed, the concept of form and cast shadows, and apply it to my pictures

-Apply knowledge of human anatomy to draw dynamic poses

-Understand what perspective is, apply it to art

-Begin drawing backgrounds, using the world around myself as reference

-Learn how to incorporate watercolors, markers, pens, and (possibly) acrylics effectively in traditional art

-Apply knowledge of human anatomy to begin designing and drawing robots

-Gain an understanding of animal anatomy and begin incorporating animals into art


Art Goals for January

-Study skeletal structure of human body (ONGOING)

   Specifics: Hands, feet, shoulders

-Study muscular structure of human body

Purpose: Understand proportions; apply knowledge to make poses and drawings more anatomically accurate