Fosya's blog
I can’t believe that on 3 year of education I’ll draw my homework in PAINT. 
Drawed from “actor’s portreit” from Repin. 

I can’t believe that on 3 year of education I’ll draw my homework in PAINT. 

Drawed from “actor’s portreit” from Repin. 

bleaf:

Great bird reference!

bleaf:

Great bird reference!

rufftoon:

New clip for the upcoming Asterix movie “Le Domaine des Dieux”

In french only (and the sound is rather low for some reason).

I’m so waiting!

krudman:

heysawbones:

Please enjoy this animation gem.

holy crap

parallelpie:

x.x 

parallelpie:

x.x 

kethavel:

Demo’n’Rappy

kethavel:

Demo’n’Rappy

ikrutt:

(ROUGHLY) THE PROCESS OF A LARGE ILLUSTRATION

  1. The client wanted his character to be a “hydra” version of the original design. I’m always happy to do a little creature design on the side, and brainstormed some quick concepts for where and how to fit the multitude of heads and limbs.
  2. After cementing the basics of the main character, I drew thumbnails to figure out the poses and general elements of the picture.

    ART TIP: Get in the habit of doing thumbs for larger pieces and save yourself from hours of grief!

  3. Refining the sketch from the chosen thumbnails.
  4. GO HERE FOR ANIMATION IF PICTURE FOUR IS STATIC. 

    This commission was a collaboration between M. and yours truly. I did the initial sketchwork, background and final rendering. M. painted all of the figures up until the final frame of this .gif. Near the end I forced her to change directions on the palette and undo hours of work because I was unhappy with the colour-harmony. I still feel bad about that, but I think the result was worth it. 

    ART TIP: Do quick value/colour studies beforehand and block in larger elements before adding details… and save yourself from hours of grief!

You may get asked this a lot, so please excuse my ignorance - but how do you go about constructing character expressions and body language and such? Thanks!

makanidotdot:

Besides The Basics (construction of heads and skulls and muscles and skeletons and how they move), I’ll go over some things I’ve been trying to work on myself lately:

1. Treat expressions as a single gesture of the face/head, as opposed to a head and then individual features dumped on a plate and arranged into an expression.

First, just get down the big shapes of your expression, just like you would for a pose.  

So say I wanna do a low angle angry pose.  I know the features are gonna be all mashed down at the bottom because of perspective.

 Scribble it down

image

start to put on features

image

fix stuff

image

put on more stuff

image

fix stuff again

image

erasing and flipping and stuff a whole bunch until you are happy with it or stop caring

Whole head is a gesture!image

image

2. Just like a facial expression, jot down where the important parts of an entire pose goes first.  You can force the rest of the body to fit the pose.

So here I knew I wanted the shoulders tilted a certain direction, and te hand to be in that particular position in front of her face. 

image

image

image

That’s the simplest explanation I got.  Don’t be afraid to push and pull faces and bodies around! Worry about being “on model” last!

pidntsmoh:

just a drift

drifting away

into the distance

silsol:

SO

friend found most horrible loadout of pyro

and he keep saying I AM REALLY CUTE