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Gallery Folders

My little kitty | Digital painting by Elysekh
The swan by HGKian
Red Panda by LizBoudreauArt
Mysterious Forest by mumu0909
Cat from Karvina by PawelGladkow
Giacomo II - Let's see who was here by VinZo-Art
Choxy by UszatyArbuz
rainy day by CatUp1742
Artisan, Sculpture, Collages etc
Angler Fish by Albegoyec
Mr Mustache sun catcher by mangakasan
Eagle-owl by Xantosia
How to draw if you have paws? by ShadowOfLightt
Yava by lapis-lazuri
Mute Swan by Nimiszu
Waking Again by Nimiszu
Picnic time by CatUp1742
Loaf of bread by Volinfer
Breaking Though The Past by Dezigre
A Caged Bird by Dezigre
Born Wild by Dezigre
Exercise: Complementary contrast|Comissions OPEN by LivadaArt
Robin: The Bird Wonder by Starfire-Productions
Always in my thoughts by mangakasan
Cat sketches by Moldovorot
Designs, Interfaces
Cinder by TsaoShin
Igor by Volinfer
Varien by Volinfer
Dreaming by JAE462
In Loving Memory
Giacomo by VinZo-Art
Maverick by IntuitiveMoth
Lying down by Okardare
Still Beautiful Mum by vanndra
Comission info: Pet portraits/other animals 10$In order to paint your beloved pet, I'm going to need a picture of your pet. The lower resolution of a picture means there will probably be more mistakes in your comission piece.Information on how to comission me is further down.Cheapest option10$ busts/halfbodies - digital media,Busts/halfbodies are 10$ each in digital media no matter the size. I don't mind if there's a silly expression, in fact, I would love nothing more No background or simple background, your choice.10$ for each additional animal in a comission piece.15$ Full body - digital media,Full body is 15$ for digital media no matter the size. Again, I don't mind if there's a silly pose No background/simple backgroundMore complex backgrounds are additional 3$Additional animals cost additional 10$20$ Busts/halfbodies - traditional media (A5 size),Busts/halfbodies are 20$ each on A5 format paper for traditional media such as watercolors, acrylics and oil colors. Silly expressions are welcome No background/simple backgroundAdditional animals cost additional 10$35$ Full body - traditional media (A4 size),Full bodies cost 30$ on A4 size paper for traditional media such as watercolors, acrylics and oil colors. Send them silly poses No background/simple background. No complex background this time, sorry.Additional animal costs additional 10$Important: If you want me to ship your traditional painting you will be required to pay the shipping fees as well as send me your shipping info. I WILL NOT use that info for any other purposes!, Important information!Once I receive your comission informations and we work out the details I will start doing a sketch which I will send to you. Once you accept it you will be asked to send your payment and I will start coloring your comission piece.Upon completion, you will get your piece in high resolution without watermarks.I have a right to deny your comission.Currently my only payment option is PayPal.The price doesn't include PayPal fees so I would ask you to pay those as well.If I'm not able to complete your comission in time all payments will be refunded.I'm allowed to refund your comission at any moment as long as it's still in process.I'll always try to finish your comission as soon as possible but my life always comes first.You may not use the picture for business or any profitable use.How to order a comission?Please send me a note with the following form:Kind of comission:Paper size (required only for traditional paintings):Background information (Optional)Link to an image of your pet (since DA doesn't allow sending images through notes)Shipping: YES or NO (required only for traditional paintings)About payment:If you ordered a digital painting or if you don't want your piece to be shipped please select "No shipping address needed" on the Paypal page.Please don't use any words that suggest that money is for a comission, only your DA username is enough.As I mentioned I'll try to finish your comissions as fast as possible and usually it takes about one week if I'm not busy with life. If something happens in my life that unables me from finishing in that time I will contact you and let you know I hope everything here is clear but if not, feel free to send me a note Stay safe and I hope you have a nice day! Livada
Anodyne Sea: Turtle's Force and Tranquility by Malintra-Shadowmoon
Vincent VIII - Should I stay...or? by VinZo-Art
Azimut by tanikel
3786 Greenfinch - Verdier by RealMantis
Yellow balloons by Elysekh
The (I hope) ultimate guide to drawing fur,IntroductionThis is an unusual tutorial for me - in fact, I'd say it's an unusual tutorial in general. Said differently, it's an attempt to collect all you might want to know about drawing (realistic) fur in one place. Because of this, it won't be structured like your average tutorial, which explains one thing and is satisfied with that - we'll have sections instead (which are, of course, listed in the table of contents below). Those sections will start with more basic stuff, and get more advanced throughout. The article will still be structured in a way that it can be read as one coherent text, but the sections will also work each on their own. So, if you're only interested in one of the sections, scroll down and read only that.Also, this article will focus little on technique. There are a lot of different ways to draw fur, and they will be different for the different mediums too. Hence, I include few step-by-steps. Instead, it will mostly focus on theory - how fur behaves, and why it behaves that way. This theory will be useful regardless of what medium you use. Table of contentsIntroduction (this section, in other words)Basics on how to draw (unshaded, short) fur textureFur length and directionHighlights and shadows (includes shading white and black fur)How to draw longer furFur pointing at the viewerDrawing markings(Long) fur in motion (includes horse manes and tails)Conclusion ,Basics on how to draw (unshaded, short) fur textureSo, we'll start at the very beginning here, and just talk about short, smooth fur. But first, some theory about how exactly fur is built up. As I presume most of you know, fur is made up by lots of individual hairs overlapping each other, creating a thicker - or thinner - layer. There are different types of hairs - the visible ones tend to be the guard hairs, which are longer and smoother. Beneath those, you often have a more woolly underfur, which is what really keeps the animal warm, and beneath that again you have the skin. There are quite some variations here, though - some species in hotter climates don't have the underfur as they would get too hot, and as a result might have a sleeker more silky-looking pelt. The guard hairs will also look different - some species have long thick hairs, some have short thin ones, some are curly, etc. In some cases you have winter- and summer fur, where the colors, length and thickness depends on the season.Still - we're looking at the basics here, and how to actually draw the fur. The techniques here vary depending on medium and style, but there are some general things to think about: texture, shadows and colors.To our inevitable example:,TextureFur is made up by hair, and the way to draw hair is, well, to draw a line. So, if you aim to draw realistic-looking fur where you can see the individual hairs (for example, in portraits), you need to use lines. A lot of lines. The length of the fur depends on the length of those lines - the longer the hairs, the longer the lines have to be. And, of course, they need to be in the same direction as the hairs are. Also: remember that fur on wild animals (and also most pets) isn't groomed. There will be stray hairs which have other directions than the others. You can see some of those stray hairs in the example above already, but another example image which shows it even better is found here.(More info about fur texture is found in the How to draw longer fur below.)ShadowsBut... aren't we talking about unshaded fur here? Yeah, we are - but also, we are not. If you look closely at the example above, you'll notice smaller dark areas. At first glance they look like dark hairs, but at second glance you might see they are small "gaps" between the hairs - and thus, that they are in the shadows. Also notice that the color depends on how deep the "gap" is - the deeper it is, the darker the shadow. Therefore, there will also be more shadows the longer and fluffier the fur is.These darker areas are important to give the fur depth, as they show there is more than just one layer of hair. Also, they help with adding texture. The easiest way to draw those darker areas is really to just treat them and draw them like darker lines. ColorsSo, we have finished the section about shadows, and we know there are darker areas in here. But apart from this, isn't our fur just a single color?Well, no. At least, not in this example - there are certain cases where fur indeed is one solid color (white animals, for example), but that is not the case here. If you look closely at the example above, you will see there are places where the hair is lighter than default, and you'll also find places where it is darker. (Which makes sense - in quite a lot of cases, the base of the hairs is darker than the tip.)Adding in these areas helps to make the fur interesting and natural/realistic to look at. Having larger areas in a single color doesn't usually work well in realistic art either, so this is a neat trick to avoid it.Also, quite some animals have hairs in multiple colors, in the same area:,Here you can see how most of the wolf's fur is a mix of grey hairs, brownish red ones, some light golden, and black ones. How many there are of each decides the exact color. This is, however, not something that is very noticeable when you are further away from the animal, so it will only be really relevant if you want to draw detailed close-ups/realistic animal portraits and similar.(For more information about fur colors/colors in fur, see Highlights and shadows below.)Then, let us look at fur from a bit further away. Unless you're drawing a larger portrait, it's rare to get extreme close-ups of fur anyway - usually, we rather see something like this:,The fox is not close enough so we see all the individual hairs, but we can still see the texture nicely. Again, we'll have to draw lines to fully capture this look. Because we're further away, those lines are rarely very long, and you certainly don't need to draw every single hair here - just enough to get the fluffy texture down.Those lines are especially important in areas where one fur section "ends" and there's an edge or line - the side of the face, inside the ear, along back, etc. If you use lineart, it's important to add some fluff here - as seen in this quickly drawn example:,Even though there is next to no actual fur texture "inside" the cat, they are undeniably fluffy.Then, shadows and colors. Because we can't see small details, the tiny shadows between the hairs aren't very visible - but there are still some areas on the back where these should be added:,Here you can also easily see the different colors in the fur. There are areas with a more reddish brown, a more greyish orange, a brighter orange... Looking at the fullbody, there are really quite some different colors here. The more realistic the artstyle, the more colors you also want to add in. Solid colors tend to be enough for a cartoon, while photorealistic art tends to aim at getting all those colors in.Note that this is a fluffy fox - the hairs are long, and you can actually see those lines. If you're drawing very short-haired animals, like a lot of horses, you won't see much texture unless you're up close. With these animals, you have to work with colors and shading alone. (For more information about shading, see Highlights and shadows.) ,Fur length and directionAbove, we mentioned that fur consists of individual hairs overlapping each other. These hairs will naturally grow and point in one direction - which is called the "fur direction". The direction of the fur changes depending on where you are on the body, and will follow the shape of the animal. Therefore, it is also important to get this right - getting the fur direction wrong will make the animal look unnatural, and can also mess up your proportions.Getting the directions right is especially important in the face, and it's also here that the directions change the most:,Note that this is a cat face - and quite representative for felines. It is not, however, representative for other animals. Cats have a distinctive "turn" in fur direction on the nose, which canines and most other animals lack.Have another example, this time of a white shepherd, with some additional comments:,Again, this is only 100% representative for the breed - if you want to draw a detailed drawing of an animal, I highly recommend you to find references of that specific critter. Also - this image includes some notes about fur length as well. This is how long the different hairs in the fur are, and it will vary between animals and between parts of animals. Still, there are a couple things that are in common for all animals:The hair will be shorter on the nose and grow longer on the cheeks and forehead.The fur around the eyes tends to be relatively short. Exceptions exist for some dog breeds, though.Most animals will have whiskers beneath the chin too, although they tend to be short.There will be some areas where different fur directions "collide", usually in the area around the eye or on the bridge of the nose. The fur tends to be the longest on the neck, back, and tail. The legs and paws tend to have shorter fur - as seen in the example below. (The fur direction is marked in green, the fur length is indicated with red lines of varying length. Full view is recommended.) ,Note - you certainly don't have to match the fur length on the exact millimeter, just get the general stuff down. "Close enough" is good enough (with the possible exception of realistic style commissions, where you want to be as exact as possible.) ,Highlights and shadowsFur - and hair, for that matter - reflects a degree of light. It will therefore also reflect some of the surrounding colors. The brighter/closer the colors, the more they will be reflected - something which causes the brightest highlights to appear in direct sunlight. Highlights themselves are areas which reflect more light, and thus appear lighter. Likewise, shadows are areas which reflect less light, and thus seem darker.Have some more example images - cats which reflect white from walls (notice just how bright the highlights are here! The black cat is, really, quite far from black), blue from a blue sky above, green and brown from grass or nearby plants, and pink from a blanket.,Different areas will also reflect a different amount of light and colors, depending on the angles. Areas which are parallel to and/or close to whatever they reflect will reflect more color - as seen with the blanket, and with how the areas angled upwards reflect more blue. Also, some colors can override others - bright (sun) light will override everything else, causing the greenish reflections to be constricted to the shadows. In quite some cases, you will therefore find different colors in the shadows than in the highlights. It's not unusual to have more greenish or brown tones in the shadows (reflecting grass or similar), and brighter or blueish colors in the highlights (reflecting the sun or a blue sky).Exactly how much color is being reflected also depends on the type and color of the fur. Some animals - like certain horse and dog breeds - have very shiny fur, most do not. Black and white fur has a tendency to reflect more light and colors than grey and brown (which is the reason the cats in the examples are black and white - makes things easier to see. This is also the reason you will rarely shade white fur with just grey). Therefore, you have to be more aware of this when drawing animals with those colors. Wet fur will also reflect more light than dry fur.Of course, exactly which areas are highlights and which are shadows depends on where the light source comes from - and, of course, if there is a direct light source or not. If there isn't, there will be less of a difference between highlights and darker areas, and more gradual changes in color. You will still have some differences (a light grey sky will still give lighter reflections than most ground surfaces, for example) which are useful to make it look like your subject has depth and isn't completely flat, but aren't otherwise very noticeable. (Remember, larger areas with the same color easily look flat.)If there is a direct light source, however, you do have actual shadows - with their sharp edges. Where those shadows are depends, of course, on where the light source is coming from:,The most common situation here is the one you see in the example with the running cat, with a light source either to the upper left or the right. Which makes sense - both lamps and the sun will most likely shine down on the subject, but the subject rarely stands directly below them. This is certainly the case with the sun, which in most places will never be in the absolute "top" of the sky.I have also included examples of the light coming straight from one side here (something you'll often see with a setting sun). In the case with the snow leopard, they are looking towards the light and almost completely lit up, while there is quite a different - and dramatic - effect in the face of the last cat. Where the shadows and highlights are thus depends as much on the pose of the subject as on where the light source comes from.Last but not least, we have a backlit coyote. Quite needless to say, the light source is behind them. This is not something you commonly see, but makes for a nice effect. Those highlights and shadows follow the shapes of the animals. One part of the animal will block light (and thus be highlighted), and this causes another part to be in shadow. For example, the ear of the snow leopard is lit up on the left side and casts a shadow on the right one, the back and side of the running cat are lit up and cause a shadow on the belly, etc. To get all these details right I'd recommend you to look at references, but a good idea of the exact shape of the animal will already help a lot. References can also be useful if you plan to use multiple light sources in one piece.So, to sum this up a bit: getting the reflected colors right here will make the animal fit in more with the surroundings, while getting the highlights and shadows correct is key to giving the drawing depth and making the critter look realistic. This means you have to be careful with placing these correctly, and I would again recommend you to look at reference photos. Have another example image - partly to show just how shiny fur can be, and also how important highlights are. This black horse has a short coat, and the musculature is visible beneath (photo by Paco Calvino on Flickr):,Because muscles move when the animal moves, the highlights and shadows will move a bit too. This is something you have to be careful with if you draw animals with a very short and shiny coat, so it's not a very common issue. ,How to draw longer furNow, on to longer fur. We have already mentioned shorter fur above, and how to get the fur texture, shading and colors down.So, what makes longer fur different from short fur? Said simply - the longer the fur/hair, the more "loose" it becomes, and the more it will move around. Fur is stiff, but only to a degree, and longer hairs will therefore have more of a flow to them than short hairs. An excellent example of this is the horse. No matter how windy it is, you won't see much in the short fur on the face and the body. The long hair in the mane and tail, on the other hand, will move in the wind. Of course, there are certain differences here, as some species have very thick and thus stiffer hairs, so I would again recommend you to do some research about your subject. Still, there are some things standard long hair has in common, just because of this "looseness". The important thing is thus to capture this looseness. To do this, curved lines are key. Completely straight lines are, well, completely straight - and therefore also look stiff, especially if you have several going in the same direction. Meanwhile, curved lines mean the fur bends, and therefore is softer - and gives us a much more natural (and fluffy!) look. The longer the fur, the more curved it can be - and if you have very long fur, a slight S-shape usually works wonders to make the fur look soft.You also get extra fluffiness and softness if the different hairs don't have the exact same shape. Some can curve more, some less. A good example of this is the hair beneath the cat's chin here. Also, some bonus arrows to show curves and S-shapes: ,This image is also an excellent example of the other thing which distinguishes long fur from short fur - namely, fur tufts. Longer fur will naturally form clumps and clusters, and the only time it will be completely smooth is if the animal has just been groomed - and even then it likely wouldn't lie flat. These clumps and clusters will generally have a triangular shape as not all hairs are as long, causing it to be more hairs at the bottom than in the end of the tuft. How long this "triangle" is depends on the length of the fur, though - compare the example images of the cat above and the wolf below. Also, going with the "hairs go in a bit different directions" topic - the triangles will go in a bit different directions too. They will also overlap each other, which gives the fur extra depth.Have an example image which shows how the tufts of fur look on an animal with semi-long fur. Notice that the fur isn't long enough for any S-shapes or very noticeable curves: ,(Full view recommended. Also, here is the original unedited photo, in case you want to compare the two.)Then, how exactly do we draw those tufts? As said before, they overlap each other. Therefore, we touch the topic of shadows and highlights again, as the tufts on top will receive more light and thus appear lighter and the ones below will be in the shadow. It's therefore common for the base of the tuft/triangle to be further down and thus darker than the tip. Those shadows are thus key to help distinguish the tufts from each other, especially in realistic art - if you aim for something less realistic, lineart can do the trick (for a good example of this, see the Basics on how to draw (unshaded, short) fur texture section). ,Fur pointing at the viewerTalking about fur tufts and how to draw fur texture - time for an issue which doesn't appear extremely often, but which easily can cause some trouble once it does: fur pointing at the viewer.Then, our example. The blue arrows show the fur direction, the red areas and lines are parts where the fur points in the direction of the viewer or where there are obvious direction changes going on: ,We can already see that there are different textures here, and notice a few things. First of all, you have foreshortening. You can see this in the face of the fox, but it might be especially noticeable with the fur tufts on the back. Here they essentially act like normal fur tufts, just shorter - and the more they point towards the viewer, the shorter they appear.Notice the shadows too. We have stated that fur consists of hairs overlapping each other, and that you thus won't see the entire length of the hair. If those hairs point at the viewer, however, you might look further "down". This is especially noticeable on the back of the fox, where you have both a change in color (often, the hairs are darker at the base than at the tip) and dark shadows. You will often have more shadows too, just because you see more than the outer well-lit layer of hairs.Then, you have the issue with direction. There are some differences here - on the back and under the ear, there is a noticeable line or area where the fur direction changes, and then there are hairs pointing away from this area. This isn't especially difficult to draw, and acts just like normal fur apart from the foreshortening and some more shadows.Then, you have areas such as the one above the eye, where you have an area with hairs going in random directions. Most hairs curve to some degree, and they will curve in different directions - which creates this texture. This is quite different from your usual fur, considering there is no set direction.Short lines in different directions as well as light areas right next to very dark ones tends to work well to recreate this effect. Getting this right does require some more time and patience, but we aren't talking about large areas. Also, this is mostly an issue with realistic art too, as you rarely bother with such small details otherwise. ,Drawing markingsNow, let us look a bit more at markings. The important thing here isn't really which shapes those markings have or what colors you use, but how those colors overlap each other. Let's look at some examples of well-defined markings, to show this better:,Said simply - the longer the fur, the more jagged the edge of the marking will be. There is a next to smooth edge on the short-haired zebra, while both the goat and the cat have very noticeable jagged edges. This is because longer fur will form tufts, which will them overlap each other (which is very noticeable on the cat). Considering fur length varies depending on where on the animal it is, markings can also look different on different parts of the body. Markings in the face can be more defined than the ones on the main body and tail, and the legs will often be somewhere in between. Of course, this is more noticeable the longer the fur is.A well brushed animal will also have smooth edges on their markings almost no matter how long the fur is, because the hairs are lying flat and straight. Also, this depends on the hair direction. The jagged edge will only appear in the direction the hairs/tufts are pointed in. If the edge of the marking runs parallel to the fur direction, the edge will be a whole lot smoother:,So - those were the clearly defined markings, where you have a noticeable edge between the two colors. However, quite some animals have more subtle markings too, where the colors fade more into each other without very noticeable edges. These often appear in the face, like with this fox:,The fur on the snout is more greyish brown, a more orange area between the eyes, a darker ring around the eyes... (Note that there are more clearly defined edges too, like the dark stripe next to the eye. It's not uncommon to have both kinds of markings in the face.)Being the face, we are talking about short fur here - and hairs in different colors, at that. Those more subtle markings are often about adding/removing one or more hair colors. For example, you have dark orange hairs around the eye, and the further away from the eye you are the fewer of those there will be. Thus, there is a gradual edge. Likewise with the hairs on the nose - we have some darker red hairs, but also greyish brown ones and a few black ones alongside the "standard" light orange ones which are found in most of the face. ,(Long) fur in motionAs mentioned above, long fur can be quite "loose" - and this means it can move around. The longer hairs are, the more they can move. And considering wind is an existing phenomena and animals move and run, we need a section about exactly how moving fur looks too.First - the example photos, and two photos of rather windblown dogs. The red arrows show the wind direction while the green arrows show the fur direction: ,Here you can see several things. - The fur on the "wind side", where the wind is coming from, will often be pressed against the body of the subject and thus will follow the shapes of the animal. You can see this especially well with the fur on the top of the head and below the muzzle on the left example.- On the "non-wind side" there are some areas which are out of the wind, for example the left side of the muzzle on the left example. This is because the animal's body blocks the wind. The fur will look relatively normal here. - And then you have the long fur which is just following the wind, like the upper left on the left photo and most of the head, neck and chest fur on the example to the right.Else, many of the same rules as "normal" long fur apply. There should be no straight, stiff lines, and the different tufts of fur should be curving one way or another. Don't give all the hairs the same length and the same direction either. Some will curve more upwards, some more downwards. This will make the fur look a lot more natural. Also, reference photos will help you a lot here. I would recommend you to find some, if possible (because we all know the perfect reference photos are hard to find), to get a better idea about how exactly your subject might look.I'll also add a small comment about literal "fur in motion" - when the animal is running. ,Said simply, when the animal is running the wind will come directly from the front, and you'll see this in the fur. It will likely be pressed towards the body on the chest and on the "front" part of the legs, while the fur will blow more freely on the "back" side of the legs and the tail. Talking about tails - let's look at some horse tails, as those are the prime example of long hair in motion. Here we have one tail when the hair is just standing, one when the horse is trotting, and one when the horse is galloping:,As you can see - the more speed the horse has, the more the tail will be flying behind them. There are still some variables, though - a longer tail flies less easily due to gravity, and it also depends on how the tail is held. Arabian horses will hold their tails very high, and thus get them more in the wind than normal horses.Also, due to the slight up-and-down movement of running, the hair tends to have a more or less noticeable S-shape. You can see this clearly on the second photo, and also a bit on the third one.Something similar is also going on with horse manes. Considering the hair here is shorter it will take less before it is properly "flying", and it will also move more easily when the horse does their slight up-and-down movement while running (again, noticeable in the second image here). Or, really, any quick head movements the horse might do, like shaking., ,ConclusionWell, the quick conclusion is that there is a lot to say about fur - a lot more than I had expected myself. Eventually I realized this article/tutorial/guide would become too long if I included absolutely everything (both when talking about readability and when it comes to DA's character limit), and I had to leave out some things. This lead to the article being restructured a few times, but I think I have managed to include everything necessary to call this the "ultimate guide". Or, at least, so I hope...
Under the Leaves (Plus Video) by ChellytheBean
Dreamscape by Elysekh
zzz - Monthly Themes - Archives
[AC] Mr. Visa by Memuii
zzz - Closed Folders

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