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As promised! This is how I letter my work. Hope this is helpful to someone!

Here's some more useful links:

•Download 300 finished speech bubbles 300 Free Speech Bubbles (Download) by Zombiesmile

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Due to the overwhelming number of comments I don't think I'll be able to reply everyone.
To those who find this tutorial useful; you're welcome! I hope it helps you!
Be sure to check out the resource links and small FAQ below!
This tutorial was made in May 2013 and is due for an update when I have time.

Hey! This tutorial is about educating, self love, and a safe space for fat women.
I do not tolerate fat-shaming. Harassment and hate will result in you being blocked, you are unwelcome here.
Do not throw other body types (skinny or otherwise) under the bus to compliment fat bodies. Drop that attitude right at the door.
I do not tolerate unwanted sexualization and objectification of fat female bodies. Dudes, this is not about what you find hot about fat bodies. 
Do not put this tutorial in fat fetish favorite folders. Do not leave comments about this fetish, I will flag you for spam.

That means inflation, weight gain, eating fetish, pregnancy (?? DIFFERENT SUBJECT ENTIRELY ??) or anything similar. The tutorial is EXCLUSIVELY meant to be educational and inclusive to promote body acceptance, not objectifying or for the sake of a dehumanizing fetish or a gross misunderstanding of the fat female body. I will not be placing tutorials here that condone any of the above or are drawn by deviants that identify as fetish artists for any of the above. Thank you for understanding.

I encourage you to read all the artist comments before asking questions, thank you!

I am not renaming this tutorial. There is such a thing as curvy women that are also fat. They are fat, and also curvy. And also fat! And also happy! ;P

Anonymous asked:
Do you have any tips on drawing bigger girls? I can never seem to make it look right, and I really want to draw different body types.
For you anon, and all the other people that ask me this question! “ヽ(´▽`)ノ”
There's always stuff I'll be learning, but I'm happy to pass this little tidbit to anyone that could use some guidance. I intend on doing a second installment of this once I've learned a little more and taken some time to practice critiques I was given for this one, covering things I didn't here; such as fat distribution on the face, neck, fat rolls, cellulite, and more variety in general. Thank you for the feedback! I'll do my best to answer any questions I can if they're not answered here.

Edit October 2013: I said characterization/backstory play a role in how I decide my characters body weight. I wanted to explain why, because I realized some people found my justifications offensive and unnecessary. I am sorry for that misunderstanding; I am very aware that diets don't immediately = being fat. I am very aware that genetics can just result in this bodytype, which is exactly what I was trying to explain (I realize I did a poor job of this.)

But what I was trying to show is that there is no wrong way to be fat. Everyone's body is welcome and valid.

You can be born fat and stay that way. You can be thin as a kid and grow up fat, just as some kids start out fat and lose it with age. You can be athletic and fat, or NOT athletic (read: don't confuse this with "unhealthy"), and fat. You can be fat because of diet, too- which I never implied as a negative. All of those reasons are okay and valid and real.

Again, I am sorry. I don't usually justify any of my characters' traits in ANY regard (weight, identity, orientation), but I thought it would be a good way for girls reading this to further connect to this tutorial. However, I'll keep this in mind for the future.

Other great curvy references/tips that may have some better points I may have missed. Welcome to suggestions for this list!
Reference Tumblrs/general help for all bodies:
helpyoudraw :bulletblack: fuckyeahreferences :bulletblack: Drawing Fat :bulletblack: Torsos :bulletblack: Body Shapes And Athletes
UNDERSTANDING ANATOMY: Body shape | Unique Shapes | Varying Your Body Types  | Bodies by height and weight

Feminine presenting tutorials and references:
Thigh Gaps :bulletblack: fat/chubby girls tutorial :bulletblack: How To Draw Female Characters :bulletblack: mooncalfe :bulletblack: Commentary on drawing Fat :bulletblack: Bramble's Guide to Drawing Big Girls :bulletblack: Chubby Girls (keep in mind some of these are caricatures, parodies, and highly exaggerated. Try not to until you understand the basics!)

For masculine presenting people:
"How to Draw Beef" :bulletblack: Sketches :bulletblack: Genchi art- drawing male bodies :bulletblack: cartoon shapes :bulletblack: Chubby Boys  (keep in mind some of these are caricatures, parodies, and highly exaggerated. Try not to until you understand the basics!)

Frequently Asked Questions

Can this work for guys/masculine presenting people?
Yes! Any of these shapes can apply to all genders! :nod:

But instead of two circles meeting specifically at the waist, instead they more often meet either lower toward the hips (big circle sitting on a small one, like a lightbulb), or higher under the chest (pear shaped) or just one oval/circle in the middle as well.  It depends  on the body type you're going for. You could also use "round squares" instead of circles for more blocky strongmen that are still big.

Also check out the tutorials listed above for masculine presenting tutorials.

nonbinary people as well?
For genderqueer, nb, agender, or other more ambiguous presentations, don't be afraid to mix and match traits. These are just guidelines, and there are definitely exceptions to any of these rules, especially for those not conforming to gender binary. Once you understand the gendered masculine vs feminine differences in shape placement you can definitely get creative. I do hope to do an all gender encompassing revision of this sometime but for now I hope this helps!


:star: REBLOG IT ON TUMBLR :star:

Thank you all for the favorites, comments, and watches! :love: 
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Well, not really a tutorial, it started out as instructions for my assistant, =kuddlekinss. XD
Then I thought, well... a lot of people have been asking for tutorials, so why not share.
Sorry it's sloppy and all!

Some details:
-the reason I duplicate the layer first is to compare sketch and line layers later, in case something goes off or looks different.
-I used Photoshop CS5.

The sample page is taken from Crash'n'Burn vol.2 (p51).

Crash'n'Burn Tumblr:
Tokyopop's CnB page:…

Might clean this up and present it properly at some point, but until then, enjoy.
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It's already ninth tutorial in my "Nsio explains" series. This time I'll talk a little about constructing and analysing your drawings.

Why should you construct and analyse your drawings?
First of all, if you are an artist with no prior experience about drawing, it's unlikely that you can draw anything right in first go, yet alone in one go. It takes a lot of practice and experience to be able to draw things without sketching first.

Let's imagine, that you are drawing a human figure. You start from one eye, then draw the other. You keep going and draw the cheek and chin. At this point you might already have done a mistake. If you spend some time to analyse your work now, you can probably still save it. However, you just keep going, drawing more individual details. And if you are really fond of details, you might have spent a lot of time on a detail which may not even be right. If your great detail doesn't contribute or causes problems, it needs to be sacrificed. However, the time and effort you spent on that fine detail makes you unwilling to sacrifice it. The next details you draw are forced to follow the wrong detail, accumulating issues one after another. When you finally look what you have done, it's already too late to fix the drawing. It would take too much effort and the results wouldn't probably be satisfying either.

This is why constructing and analysing your drawings is so important. If you construct your drawings in logical manner, you can save a lot of time and effort in fixing your drawings. Analysing your work in regular intevals as you keep working on your drawing ensures that you won't be putting too much effort on something wrong.

Self-analysis is the foundation of improving yourself. You will need to evaluate your actions and be able to see what you are doing wrong. Once you know our issues, you can start working on getting better at them.

Here I compiled few common issues, but seriously, the amount of possible issues are numerous. And even the matters I have covered are explained in very general level. Also the source of the issue isn't always as obvious as it may seem. For example, the character head may look too small in comparison to the body. However, you can also consider that the body appears too large when compared to the head. Either the head or the body needs to be fixed. It can also be, that the scale and proportions of the torso just makes the head look smaller. That said, there may be only one or several factors affecting the perceived issue. You will need to decide which feature you will sacrifice for the greater good.

I'll talk about few issues I tend to struggle most.
  1. Symmetry: It's fairly easy to draw something perfectly symmetric by drawing one half and then mirroring it. The problem emerges when you need to draw something symmetric in 3D space. To see the symmetry, you need to understand how perspective works. Also, you need to know that human body is rather symmetric, even if the pose isn't symmetric. Most common issues with symmetry tend to emerge around the head. The neck may appear to start from the shoulder, the mouth and nose have taken the liberty to locate themselves indiscriminately and the eyes are not from this world. You will need to learn to see the relative positions of the bodily features and make decent guesses when drawing them.
  2. Proportions: You will need to learn seeing the body proportions in perspective. Probably most common issues are arms and legs that differ in length. Even when foreshortened, the arms and legs need to look equal in length. I usually compare the body parts together to see which is longer. Then I evaluate whether it's enough if I fix only the other, or do they both need fixing.
  3. Scales: Often accompanying proportional issues, it's quite common to draw some body parts larger or smaller than it should be.
  4. Orientation: This is very important and hard. To see the orientation, you first need to see the perspective. Then you will need to know how each body part can move around and how the other body parts are affected. Drawing the hand in certain orientation will restrict arm positioning. If you fail with the orientation check, you may have poses that are physically impossible.
  5. Dynamism: Here we have the dynamism yet again. Without dynamism, everything looks plain and boring. Having been dabbling with dynamism for years, I can already come up with quite good dynamism. It gives reason for the element in your drawing, making them not only natural, but also justified.
  6. Patterns: These are often really annoying. There are two types of patterns: wanted and unwanted. Usually unintentional patterns are unwanted, for example starry sky with rational star placement. Unintentional patterns usually manifest themselves on elements where a lot of similar features are drawn next to each other. Such things are wrinkles and drapes on clothing, strands of hair and frill to mention some.
  7. Logic: This is neglected very often. Even if it's possible for the character to take a certain pose, it may not always make much of sense. Usually these poses are unnatural and stiff.

If you keep working on your drawing for quite some time, you will become blinded to it. If you mirror your drawing, it will look like a completely new drawing, making it a lot easier to see the issues. Digital artist have it easy, but traditional artist can use a real mirror and rotate the canvas as well.

When you trace your sketch, remember that your goal isn't copying it. The sketch is there only to give you some rough idea of the final results. That said, you don't have to follow the sketch too strictly, especially if it's not perfect.

Example of constructing and analysing
I though an example would be most useful way to explain how to work on your drawing.

When I draw, I work on phases. Each phase has it's own focus points and goals to achieve. The benefit of working on these phases is that I can focus only on few things at time. The phases are
1. Idea
2. Rough Sketch
3. Refined Sketch
4. Lineart
5. Post-processing

The first phase is useful for trying out many alternatives without using too much time or effort on the drawing. If I don't like the pose, I can easily discard it. I can also try to find a pose that's more fitting or justified for the character I'm going to draw. I went with the third. The fourth is there just to "pre-evaluate possible errors with the drawing".

Second phase is the most important of all of the phases. All major issues should be fixed on this phase. Well done work here will pay off on later phases. At first I draw the full body without paying too much of attention to the issues. After I'm done in 5 mins or so, I start analysing the errors. I use lasso selection to relocate and rotate body parts. I also redraw many parts to fix major issues. I have included my quick rendition and it's fixings. Drawing the character naked is important, because that's the only way you can truly test where the body parts go. Also, naked sketch will serve as a base for the clothing. If the drawing requires major changes, they can still be done. However, a good rule of thumb is that "when you have chosen a pose, stick to it".

I really recommend spending a lot of time on rough sketching. I used to draw at least two or three rough sketches of the same body, because drawing the body from scratch was often easier than fixing the faulty one.

On third phase, it's time to make a preview of the final drawing. All important details and features should be present here. The line quality doesn't matter though. I often draw most important and hard details (such as fingers) quite detailed already in order to make it easier to draw them on next phase. I usually draw some sort of shading as well, and often I won't take the drawing further than this. It has already served as valuable practice work.

On fourth phase, it's time to draw the final lineart. On this phase, the focus should be solely on the linework. While issues should be fixed when they emerge, the point of the two earlier phases is to get rid of them so that the focus can be put solely on making pretty lines. If I'm going to color the piece, this is enough work for now.

Fifth phase is either coloring or inking. Here i just went with solid black and one bluish shade. When the work is done, I usually appreciate it for some time and then after few days I do post-analysis. This piece came out pretty neat, though the legs could have benefited from some extra attention, especially the armor parts and feet.

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Fourth part (if excluding facial proportions) in my tutorial series. Probably my favorite thing about drawing.

Dynamism is what makes the drawings so lively. Even a drawing without any real action should be dynamic. Dynamism makes your drawings look more natural and interesting to look at. It can also make up for many mistakes and even make them look intentional and part of the drawing.

Line of action is the manifestation of dynamism. It's a sort of invisible line that (I believe) everyone can see subconsciously. I find that there are two types of line of actions: primary and secondary line of actions.

The primary line of action, like the name suggests, is the most important thing in your character. It gives the backbone to the whole pose. That's why it's really important that it's found very early in your sketches. Without this line, your poses will end up plain, boring and unjustified. The secondary line of action is more like a compositional guideline. It helps to justify the positioning of the sub-elements of the drawing, such as clothing, accessories, hair, limbs and shapes.

Regardless the role of the action line, it's main purpose is to add feel of flow in your drawings. This flow is then perceived as dynamic drawing. A good line of action is long, strong and as continuous as possible. These are prerequisites for illustrating dynamic action.
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Number 8. tutorial in my "Nsio explains" series. Talking about foreshortening for continuation from perspective.

EDIT2: I thank all those who commented on my rude tone in this tutorial. I have definitely learnt my lesson by now, so I won't be replying back on any future comments regarding this. I have literally written essays as a response and you can find them if you browse trough the comments. Of course, if you find that it's all you have to say about this tutorial, then feel free to do so, but don't expect me to reply.
EDIT1: Few people have been reporting about my rude tone in this tutorial. I'm really sorry if you find it offending and condescending. My point is not to mock your ability to draw or insult you. For that sole reason, all my "bad" examples are always drawn by myself. However, my goal is still to make you feel a bit bad about yourself and wake new thoughts in you. The first step to understanding is to to see what you are doing wrong and accept it. I do this by slapping you straight at the face. While it may sound like I'm saying that you are bad, that's not the case. No one is bad at drawing: some have just had the chance to delve deeper into it. Some may grasp it faster than others, but since drawing isn't something we need for surviving, you don't get to do it very much. You didn't know how to walk or ride a bicycle when you were small, but you have had years to perfect them. Same goes with drawing.

Again, I humbly apologize if you found my tone discouraging and offending. I admit that I could have been more considerate.

Way too common mistakes:

Foreshortening is super hard, I admit with that. But it's hard mostly because of the lack of knowledge of how things really look like. That said, if you intend to foreshorten anything, you really need to know your subject rather well. Advanced stuff require advanced understanding. If you don't how the understanding, you will fail miserably, unfortunately.

Probably the most common mistake I encounter is the arm reaching the beholder. Most of the time, people draw the hand in upright position. Well, that's not necessarily an issue, but if you draw the hand in upright position, you need to draw the arm in a way that it's possible for the character to keep her hand in that position. However, people almost always do these two fatal mistakes:
1.The hand is far away from the face
2. The arm is not coming towards the beholder

People usually can draw the hand larger than normally, to indicate it's closer to the beholder. However, the two mistakes I mentioned before destroy the illusion instantly. Let's talk first about the position of the hand. We all know that our arms can reach quite wide area. However, the hand orientation is directly related to the arm position. That said, if the beholder is in front of you and your point your right arm to the right, you just CAN'T turn your palm towards the beholder while keeping the upright position. It's not physically possible. If you point your arm towards the beholder, then your palm can be seen. And when you turn your arm in a position where beholder can see your palm, the hand is relatively close to the face. From the beholder's point of view, that is. Now we can take a look at my illustration where I attempted to draw things as wrong as they can possibly get. See, the hand position is impossible there. So if you really want to draw the hand in upright position towards the beholder and the arm is straight, know that it needs to be close to the face (the face is just a reference point here, easy to remember).

Now on to the second issue I mentioned. Most of the time people don't even draw the arm coming towards the beholder. This makes it look like the poor girl got her hand dismembered. Take a look at the shirt: the opening of the sleeve is obviously pointing downwards.

I drew some other mistakes here as well, but basically they all are one big mistake. I didn't pay any attention to the beholder, viewing angle, not even to the drawing. I just drew individual elements one by one. If you you know that you are drawing like in my bad example, I'll need to ask you: are you really even trying.

I know I know, foreshortening is hard as I already said. But seriously, are you really even trying to understand it and what you are doing? Are you putting any serious effort in drawing at all? And are you reading this tutorial in hopes of getting easy way of drawing foreshortening?

Unfortunately, I have no magic tricks to offer. There are no shortcuts to experience and understanding. While this tutorial may help you to give some insight about the matter, you won't learn foreshortening unless you really give it all you got. And in order to draw foreshortening, you will need to learn seeing things the way they are, not the way you think they are. You must acknowledge that it's you that need to see the effort, do the studies, do the practice, learn from references and stuff.

Now, I wouldn't say that I'm perfect with foreshortening. I had plenty of problems to compile this tutorial, but at least I can say that I gave it all I got. And in fact, I think I learned a bit more about drawing foreshortening. This was valuable practice for me.

What is it really?
Foreshortening is a term for procedure, where the subject is drawn in perspective and coming towards the beholder. The subject is literally "shortened" to gain the illusion of depth. Usually perspective guides don't work very well with foreshortening, so it's mostly about trusting one's perception and doing decent guesses. And that's often enough, because it doesn't have to be perfect in order to look right. To draw anything foreshortened, you will need to have rather good understanding about shapes and proportions in three dimensional space.

I usually draw section planes and draw "middle lines" on top of the shape surface to analyse it's orientation and form. For example, if you draw a cylinder in any angle, you will need to be able to tell it's height in any given time. Even when the object is foreshortened, you need to know that the height of the objects remains the same.

How much smaller it should be?
As we already know, things look smaller the farther the are. The same principle apply with the foreshortening. However, you will need to know how far the object actually can reach and deduce how much smaller it really gets. If the object is very close or it's really large, it may look distorted. This distortion happens because of our vision (fish-eye). The more complex the subject of drawing is, the harder it gets to draw it foreshortened. Basically it means that you will need to study references and live models to gain understanding and knowledge about how things really look and then base your guesses on that.

Applying the cylinder example
The cylinder example seen on the tutorial can be applied on anything. The arm is probably the most straightforward subject to apply the example. All you need to do is to imagine that the arm is made of a pair of cylinders connected with spheres as joints. Then you will just need to draw the cylinders in a manner that they look like they were foreshortened. This sounds much easier than it really is, but using cylinders makes it a tad easier. Of course, if you don't know how to draw cylinders in the first place, then you can probably consider a bit easier matters to practice for the time being.

I drew some more complicated shapes than simple cylinders. To do this I had to draw few projections first in order to have the necessary references to draw the foreshortening. That said, I really recommend drawing projections of things that you are attempting to draw in perspective so that you know how they really look and you have references to look at while you draw the perspective. I must say, I hardly ever draw such demanding foreshortened drawings, so these really got me to the edge. I'm rather satisfied with the results though and this was super useful practice for me, as I mentioned before.

Some practice to try
I usually draw this kind of practice when I feel bored or I have gotten rusty. Anyway, the point is that you draw few circles, gradually changing their size from large to small (large ones are close, smaller ones farther). Then you will connect these circles with two lines in the same order you drew the circles. Now you will need to erase the circles partially to give it three dimensional look and make it look like a cable or a worm. If you have a lot of patience, you can draw quite complex thread of these cables.

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Seventh tutorial in my Nsio explains series. I'm finally talking a little about the infamous perspective. You can't really get away from it.

Consider this as my Christmas present to the dA community! :D

Isometric vs. perspective, 2D vs. 3D:
I guess everyone knows how to draw a cube at least to some extent. The question is whether that cube has successful depiction of three dimensional illusion.

I, for one, drew a lot of cubes in isometric projection and I thought it was three dimensional. But it's not. In fact, it looks very weird, if you think about it. You may look at this example as well:… . In orthogonal projections, the sides of the cube are always parallel. And in a sense, it's right, the sides of the cube needs to be parallel so that it would be a cube. However, the sides aren't parallel at all in perspective drawing. The cube is skewed, but for us, it looks even more like a cube than before. 

Our brains won't bother processing this skewed look around us, because it doesn't have to. You simply know that thing which actually looks skewed is a cube with right angles and straight sides. That said, you don't probably even realize how weird and distorted the world looks around yourself. And when you attempt to draw a cube, you might draw an isometric projection of it and call it 3D, because that's how it really is right? Well, while it's true, it's not what we actually see when we look at a cube in three dimensional space. So in order to draw a successful illusion of three dimensions, you have to draw the cube "wrong" in order to make it look like how we would see it in reality.

I understand the difference between 2D and 3D as I have drawn in my examples. If the cube drawing is truly 3D, there shouldn't be any doubt about the orientation of it's faces. However, if you draw and isometric cube, there are two possibilities: there is either normal cube or inverted cube. The faces of the cube can either face outwards or inwards. You can force your mind to see an inverted image of three dimensional cube, but if you can do that, you will see something totally weird and your brains can't probably comprehend what it is seeing. When I do this, I see the cube "inflating" back to normal the moment I see it inverted.

As a big fan of optical illusions, I suggest looking at this illusion too:… . Pay attention how the guy is sitting on the stairs.

Why things look small at distance?
Because they are far away? True, but I have a bit different way to approach this question. I understand this phenomenon trough field of vision. You see, you could consider that our eyes are the point of a hollow cone and the field of vision expands as the cone gets larger. When you look very far, the cone has extended very far too. Now, if you place a wall right in front of you, your field of vision can't accommodate that wall, so it appears very large and you can't see anything else. If you step back, you eventually begin to see the surroundings around the wall. The wall appears to have shrunk before your eyes. If you keep walking backwards, the portion of the surrounding get larger in comparison to the wall. Finally, the difference between the surroundings and the wall that fill your field of vision is so great, that the wall basically disappears from your view. And despite becoming so small that it's hardly visible, it's size is still the same.

They Eye-level:
(You may know the term of horizon. It's good to note that when we talk about horizon in perspective, it's not necessarily the same as the physical horizon!)

When you are about to draw a perspective, you need to decide where the intended beholder is located and where she is looking at. The horizon of the perspective determines the eye-level. Then the position of the objects in relation to the horizon determine how the beholder sees the scene. For example, if the beholder's eyes are close to the ground, the objects dominate the topside of the horizon and usually the horizon is placed rather low on the canvas (the position of the horizon on the canvas doesn't really matter, but if you are going to draw a lot of sky, you will want to draw it rather low to actually be able to show the sky).

It's good to note that when a person (or any object) farther away and a person (or any object) with same height are seen at the same time, the horizon cross them exactly at the same place. That said, if you draw a person so that the horizon line crosses him around the chest, then all persons with the same height farther away also have the horizon line around their chest.  When you have persons with different heights, then it will get a bit trickier, but it's still can be done by following the same principles. Be careful when you place people in perspective. Failing to follow the rules will result in rather interesting effects. The same person may appear as a dwarf or a giant depending on how you draw him in relation to the horizon!

Drawing Perspective:
In order to draw a successful perspective, you will need to know how the things get skewed according the perspective. For that, you will need to know how to use the horizon, vanishing point(s) and perspective guidelines. When you are drawing perspective, you will use these tools to construct convincing perspective. (Note, I'm not going to explain how to actually construct a perspective, but rather explain the idea behind the perspective).

To put it short:
1)The horizon line determines the eye-level
2)The vanishing point is located on the horizon line (as the name suggest, things disappear at the vanishing points, just like I told about the field of vision earlier).
3)The guidelines meet at the vanishing point (These determine the direction towards the vanishing points, so that you know how to skew your drawing).

As the name suggests, there is only one vanishing point in this perspective. It's most often located directly in front of the beholder. This kind of perspective suits mostly on indoor corridors or in some street views. But in general, this perspective is rather limited: the farther you go from the vanishing point in any direction, the perspective becomes distorted. Note, that all vertical and horizontal lines are parallel, only the lines going towards the vanishing points aren't.

This perspective kind of fixes the issue mentioned in one-point-perspective. Now there are two vanishing points and only vertical lines are parallel. This kind of perspective is pretty useful for many scenes already. The higher or lower you go from the horizon, the more distorted the drawing becomes.

Placing the vanishing points too close to each other is the most common perspective mistake. If you are drawing a house on A4 paper, the vanishing points are far outside the paper boundaries. If you draw the vanishing point within the paper, you respectively need to draw the object in perspective smaller.

Third vanishing point isn't added on the horizon, but above or below instead. Now none of the lines are parallel. This eliminates the distortion in vertical axis to some extent. This perspective allows the beholder gaze up to the sky or downwards. Note that you can't get both, because the perspective guidelines will cause the tremendous distortion the farther you go from the third vanishing point.

The third vanishing point is often placed very far from the horizon. The farther it is from the horizon, the more subtle the vertical skewing is.

The Fisheye perspective:
All the three methods thus far make use of straight lines. When fourth and fifth vanishing points are introduced, there are no longer straight lines. This is due to fisheye effect taking place which causes all the lines curve. This is pretty tricky to construct, but that's very close to how we actually see the things around us (… this is where I grabbed the spherical perspective grid).

The problem with perspective drawing is the fact that you can only draw what's in front of you. In perspective drawings, the beholders view is sort of "locked" so you can't look what's on the left or right . There is six-point perspective, where the sixth vanishing point is located behind the beholder and it's possible to draw 360 degree view of the scene. This is already getting so ridiculous, that it's not really worth the trouble. Besides, I believe it's possible to draw perspective close enough without  constructing the perspective. Even though I'm saying this, it's still crucial to know how the things I have explained work in order to draw the perspective right.

When I draw perspective, I rarely really construct them. Instead, I'm imagining how I would see the scene around me if I was to look around. Remember, that you can't draw the guidelines randomly in any perspective. You will still need to know how the objects looks from certain point of view. That said, I'm trusting more my own eyes and use the guidelines only when I really need them. 

So to get started with a perspective drawing, I usually draw some sort of reference object first. I'm not really thinking the angle at this point, I'm just drawing an object that looks three dimensional. When I have drawn this object, I will begin to "look around" the canvas. I'm trying to see the "where" I had drawn the reference object in relation to the beholder. And that's how I keep working on the drawing, finding the relations between the elements according to the reference object and the beholder. I may still use the guidelines every now and then, but mostly I'm just trying trust my understanding of how I will see the objects around me.

Same goes with basically anything I draw. When I draw human characters, I usually draw them as if they were rather close to the beholder. That's why the feet are seen from above. And if they eye-level is around the waist, then the head is seen from below. It's also good way to show the height of the character in relation to the beholder, as shorter characters need to look upwards and taller characters downwards in order to look the beholder's face. This then can be used in manga to help the reader feel like she was part of the story.

Foreshortening has a lot to do with the perspective, but I decided to leave it out for now.
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Reblog from my Tumblr? :blush:

Please read my commentary before asking any more questions~! thanks :D

Finished Work:

Edit: I've had a few repeated question of how I work my lineart into the drawing.
I'd like to clarify that i don't really actually have a clean line-art. I have clean-sketches that I work under, but they're not what I personally call lineart. If you zoom in, they are very messy. I do merge the layers together at some point in step 5, and I continue to literally work the colours of the lineart into the skin (which is why i turned the sketch layer into overlay so the colours become very similar and nice to work with). That way I can get an almost none-lineart quality.

also, if you're wondering about canvas sizes, check out my journal about them: [link]

The program I used was Painttool SAI, but I think you can achieve similar effects via photoshop with a low-opacity textured brushes.

I hope this helped : ) Sorry it's so darn long. I kept it as short as I could but it's still a pretty long process.
Please keep in mind this is more of a guide to my painting process and how I technically go about doing this; It's not going to automatically teach you how to render or understand structure or anatomy (which I hope I will cover in more tutorials in the future.), which is very important, of course, to the painting itself. That's why I'll be slowly going through and doing more tutorials on anatomy and structure in the next few months, hopefully :D.

A good practice for rendering is actually to do still life and human sketches. preferably with a pencil, and not digitally (yet) :). If you have any questions feel free to ask me :D

Step-by-step animation:

In the mean time, have some of my other anatomy tutorials:
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A guide, trying to help TOTAL BEGINNERS approach a comic.

Um, not sure how much this helps.

I really just kinda tried to summarise what I personally have to say to answer the question:

Hey, do you have any advice for starting a Nuzlocke Comic?

Most frequently, people ask about how much you should have with the plot and what kind of format they should use.

But with many people, I think the problem is more basic. They over-worry the how and they don't do the WHAT.
So the bottom part kind of turned out a motivational speech.

I don't consider myself any kind of authority, and everything I write is POSSIBLY wrong. Take what helps YOU and ignore the rest.


Not sure how much this is good. Please leave feedback. I know it's a wall of text, but, eeeh… I don't really know how to do tutorials.

As far as further tutorials go… If there's demand, I'll try and do similar guides. I don't think I'm any good with actual artistic advice (there's tons of better artists out there) but I do think I can do this theoretical work… question being whether it helps at all. So, yeah, please leave feedback as to whether you found it helpful or absolutely horrible. :T
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Sixth tutorial in my "Nsio explains" series. Going with the very basics of drawing a line.

The basic idea of a line:
Most people perceive the world as if there were lines around objects. In reality, there are no lines at all. It's actually just an illusion our brain shows us. We just perceive the contrast or difference between two objects, materials and colors as if there were lines between them. How can you draw reality with lines, if they don't even exist in the first place? An average Joe can't do that, but an artist can.

So, since there are no lines in reality, you need to treat the drawn lines the same way. They aren't really lines as we would rationally think. A line in illustration has a lot wider meaning than just showing the borders of things. A line convoys your artistic mind on canvas. They are the very basic building elements of your drawing and their execution has big impact on the final product. The feel and atmosphere can be read from those lines. If you are drawing something aggressive, draw aggressive lines. If you are drawing something calm, draw it with calm lines. Thus, if you want to draw a dynamic drawing, you need to draw dynamic lines as well.

Very often I see people drawing their lines really slowly with wobbly results or quickly with short hasty strokes that have no meaning at all, other than giving really messy look. You can't just draw some random lines and say it's art. All lines need to contribute to the piece. One way to draw meaningful lines is to use dynamism as a basic concept (see the line of action in my "Dynamism" tutorial). Think a plane doing a bombing run. Start pressing the pen gently and then apply more pressure as the plane gains velocity. The most impacting part is where the bomb is released and hitting the target. After that, you lift your pen, leaving a nice tapering end. All this done with one quick stroke.

Laying the stroke:
When I draw a line, I hardly ever look at the pen itself (or the cursor on the screen). Instead, I'm looking at the point I want to end my line. I may also look at another line somewhere else in the drawing if I need to make it look the same, for instance. Then I start moving my pen between the starting and the ending points in air, hovering just above the paper. This allows my hand to do some "practice" runs before the real thing. I can also try different alternatives to see which way I should draw the line. Then, when I'm somewhat confident, I draw just one quick stroke. If it's good, then great! If not, then I erase it (Ctrl+Z is so convenient!) and try again. That said, I hardly never know how I need to draw the line beforehand. It's just thanks to my experience and "muscle memory" that I can draw the lines pretty much the way I want them.

It's also important to hold the pencil the right way for optimal ergonomics and results. Don't press the pen too much on the surface, it will just strain your hand. When I'm drawing with a pigment liner, technical pen or tablet pen, I hold the pen pretty much in vertical position. I support the pen with my ring finger to keep it from getting pressed too much on the surface. This isn't very natural way to hold the pen, but it allows great control over the pressure.

Some basic thing about lines:
I have compiled some things here in order to explain why my lines look like they do.
1. I always apply some sort of variety in the line thickness for more natural and dynamic feel.
2. Make it quick and simple. The line can be short or long, but it should be drawn with one dynamic stroke.
3. The way you draw the lines can spice up your style and add feeling to your pieces. I tend to draw my lines both curvy and angular, pretty much like the left one.
4. It's good to mind line hierarchy. Usually thicker lines are considered to be closer that thinner lines. Thus, it's often good to draw the characters with thick outlines and the background with thinner lines.
5. This is pretty basic way to think the line weight. The line is thinner towards the light and bulkier in shadow. You could think the line as a shadow as well.
6. This is pretty basic thing too. Thinner lines give more lighter feeling and bulky lines heavier. Thus it's pretty straightforward to draw a feather with thin lines for example.
7. Some black in line intersections makes a huge difference. Just be reasonable with it.
8. An illusion of overlapping lines add three dimensional feel. Also pay attention how the panties sink into skin ;)
9. The line thickness can also add the contrast between two objects. For example, if you draw an arm on a surface, it's natural to draw the lines towards the surface bulkier (as if they were shadows).
10. "Lost and found" refers to a broken line that we can read as a solid line. Very often it's better to draw things with broken lines rather than solid lines. Of course it depends on the image you want to gain.
11. Number 10. principle can be applied on corners. If the surfaces are part of the same object, it's often better to draw the line between them thin or broken. If there is a gap or two separate surfaces, the line is solid. Note that curvy surfaces don't really have corners (duh!), so you need to give the impression with contrast instead or mind the surfaces later in coloring.
12. This just illustrates the fact that there are no lines in reality, but it can be still represented with lines.
13. Hatching should be drawn with quick and parallel lines, with equal thickness and gap between lines.
14. You can make quite a bunch of textures with lines.
15. You can also draw many patterns with lines. However, it's often better to draw only small patches there and there and leave the rest to the imagination. Not only you save a lot of effort, the drawing will be a lot easier to look also.

Skating practice:
Skating is a good term for this little practice. The purpose of this practice is to be able to draw the very same shape many times as accurately as possible. You can do this kind of skating practice with any kind of shape, but I find that "pringles shape" is the most natural and challenging enough. When I draw that shape very quickly, it's my hand's "muscle memory" doing the job. The moment I start thinking, I make mistake.

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