A mouth-watering fuck-ton of hand references.
[From various sources]
SenshiStock's gallery consists of millions of pictures that are free to use as reference.
General Drawing Poses
Sit and Kneel
Dramatic and Reaching Drawing Poses
Magic and Hogwarts Drawing Poses
Staff Weapon Pose Reference
Hammer, Axe and Bat Pose Reference
Sword Weapon Drawing Reference
Small Bladed Weapon Pose Reference
Gun Weapon Pose Reference
Bow and Arrow Archery Stock
Foreshortening and Perspective Poses
Dynamic Flying Falling Action Poses
Deafeated or Laying Drawing Poses
Magical Girl Wand Weapon
Transformations and Dance
Back Pose Reference
Pin Up Inspired Poses for Drawing
Life in General Poses
Fights and Fighting Pose Reference
Classic Sailor Senshi Poses
Sailor Moon Villains
Romance or Couples Pose Reference
All the Male Stock
Hanging Stock Drawing Reference
Three or More Groups
As per request (thanks, singingrabbitskull!), I did a half-tutorial, half-sporadic notes on how I generally render basic expressions.
There’s already a lot of cool tutorials that exist on how to do expressions, so I tried to just look at a lot of really minor details that I’ve used but haven’t seen commonly passed down.
required disclaimer: this is just how I go about it, feel free to ignore bits, steal bits, do whatever you want with them. Hope this helps, and if you have any questions scream at my inbox!
LOOK AT ALL THESE WONDERFUL ART RESOURCES OMG.
Helpful stuff, mang!
FFFFAAAAHHHHH I want to eat these refs and resources they are so great
I mean look at that one about rocks! ROCK REFERENCES AND HOWTO. ROCKS. ROCKS!
Rocks are really hard to draw XD
MY FROND asked me how i draw shoes and then i got really into it and drew a whole bunch of SHOES HAHAH I hope this helps someone
DON”T worry about getting the shape perfect at first bc you can always edit it later!! ALso this is just my really quick way of drawing shoes IT PROBABLY ISN”T EVEN RIGHT SOMETIMES LIEs down
I want you to know that I am so fucking proud of you!! Sosososoooo proud of you and fuck anyone who puts you down for being new!!! You decided to take on a new skill and to jump into the unknown! Art which is a skill that takes years and years to master.
You don’t decide to be a doctor one night and start doing heart surgery the next day. So why do people expect you to know how to be able to fucking paint the Mona Lisa the next day??!?!
If you’re wondering where this is coming from, it’s because of my disgust with fuck-your-fanart. A tumblr that harasses artists everyday, which the tumblr staff has decided to ignore and to let them to continue spreading hate.
To think that because of this hate, artists could get discouraged and put down their pencil/pen/paint brush ect. for life makes me sick. So I’m making this post in hopes that we can keep encouraging or re-encourage any artist who is doubting continuing because they’re afraid of the backlash that being a new artist might bring because of this blog, or any blog like it.
As much as I still have to grow as an artist, I can say that I am proud of how far I’ve come. Every last horrid piece that I’ve made in the past is important!! it was a stepping stone to get to where I am now! So in this post I’m going to show you where I started out and if you feel like joining and posting yours as well, please do! And like Jake the dog said “Sucking at something is the first step to becoming sorta good at something." See<3
and now years later!! (about 8 probably)
Feel free to add to this post! Or if you feel like making your own post, tag it with “#bad art is good art” so others can find it<3
And one last point I need to make, is that if anyone says that you should expect to have to take anyone’s bullshit because you posted your art on the internet, they are wrong~ Be strong and know that no one deservers to be harassed or put down for taking the time to learn!
a public service announcement
Oooh, I’ve run into folks who, for what ever reason, have remained totally loyal to the RBY primary set while being totally knowledgeable about the CMY primary set.
If you’re worth your salt in mixing paints, you can make both RBY and CMY palettes do your bidding well enough. All of my traditional paintings are done with only the three primaries, and white. While I personally prefer CMY, I’ve had to work with RBY before, and (though I was mega rusty) I didn’t find it any more difficult to produce the colors I wanted.
If you’re working on very strict graphic design projects and need need NEED very specific colors (while, for what ever god forsaken reason, having to do it all with traditional paints/inks instead of digital mediums), then CMY is the better way to go. But if you’re just painting illustrations and are under no pressure to be mega mega mega nitpicky about the color purity, it’s really not going to make a difference.
So, read the info-graphic, and take it in. Play with a CMY primary set, etc. But if you’ve been working with RBY all this time, are comfortable with it, enjoy working with RBY, and feel like you’ve been getting the colors you want with RBY, don’t panic. You haven’t been fooled, nor have you been lying to yourself or anything like that. You’re doing just fine.
The difference between using RBY and CMY is very particular, and most people (if any) won’t even be able to tell if a painting was done with RBY or CMY. (But they WILL be able to tell if you used a black straight from the tube, ooooh).
Alright, so let’s talk about color theory, shall we?
Magenta and Cyan do not generally exist as PURE pigment paints. Many of these pigments are MIXED or not as light-fast as other pigments, making them susceptible to fading under light. Not only that, but PURE magenta, Cyan, and Yellow DO NOT EXIST in traditional media paints. And why are pure pigments important? Because every time you mix two sets of paints together, your colors get muddier and you lose color vibrancy.
So what does this mean? Okay, so magenta and yellow make red respectively. However, you CANNOT replicate the same purity and vibrancy of Cadmium Red no matter how hard you try, ESPECIALLY with the colors OP recommended.
Not only that, but you are working with REFLECTED LIGHT, not pure light itself like what you would work with on your monitor. Let me demonstrate with the color Cyan…
This is 100% blue and 100% green on your monitor, making this a pure Cyan through the RBG model all additive color works with.
This is your monitor’s best attempt at replicating the Cyan your printers use. Note the difference in both vibrancy and hue. The monitor cyan is much warmer than CMYK’s cooler cyan. I can’t, however, show a picture of what it looks like printed out because again, when you work with traditional media, you work with reflected light. This means some of the pure light pigment gets absorbed into the paper or whatever surface you are dealing with resulting in less light bouncing back into your eye. If you want to test this for yourself, try printing this cyan testing page out and compare it to the actual colors your monitor is displaying.
So… what point am I trying to make, here? Both RBY and CMY are valuable and BOTH have their separate color gamuts. Both have their strength and both have their limitations. You can’t produce a vibrant hot fuchsia pink with the RBY primaries, but you CAN with the CMYK palette. What’s more is that even the RGB additive color space, which is perceived to have one of the widest ranges of colors, is also limited since it cannot replicate the properties of reflected like properly.
So which is better? How do we counteract the problem of color purity being lost every time you mix colors? My honest answer is neither one can do this. Wanna know some BS? You’ve all been taught that professional painters ALWAYS work with ONLY the primary painters, and that having more than three paints on your palette tray (excluding the use of black and white) is a sure sign of an amateur painter.
THIS. IS. SO. WRONG!!
In fact, MANY painters, including THIS ONE, suggest each painter has six colors in all—a warm red (cadmium red is popular) and a cool red (or magenta a red that is close to magenta such as quinacridone red/magenta), a warm yellow and a cool yellow, and a warm blue (phthalo blue) and a cool blue (ultramarine.) I personally like to add a a few browns (burnt sienna is my FAVORITE color to work with of ALL time) and dioxazine purple (because while as a stand-alone color it sucks, the mixing properties of this color are STUNNING!!) I also use payne’s gray instead of mars or ivory black because I like the cooler properties of it (YES!! EVEN BLACK IS WARM OR COOL!! and you should definitely play around with them if you can afford to.)
Painting companies wouldn’t make all these fancy colors if artists, professionals included, had no use for them. A FANTASTIC resource for learning a brief about these painting colors is Gamblin Art. What you WANT to do i buy pure pigments of colors you use OFTEN yet CAN’T produce with your primaries.
Also, just as an example, here’s a professional artist by the name of Scott Wills who uses a range of acrylic colors to get the beautiful, vibrant range of colors he creates in his pieces. :
Now, I have NO idea just how many colors he actually uses, but if this picture of him working is any indication….
I’d say it’s a lot, though since I don’t personally know this guy, I can’t say for sure.
Seriously, guys. Colors are WAY more complex than you think ESPECIALLY when it comes to mixing paints, or any other medium, for that matter.
There’s one last note that I’d like to leave off on, and that is, depending on what paints you use (acrylic, oils, watercolor, gouache, tempera, blood-of-thine-enemy, what-have-you), you may even be dealing with transparency versus opaque, matte versus glossy, and even tint strength. By the way, here’s a photograph of the phthalo blue so many have been favoring for cyan:
Doesn’t look very much like Cyan now, does it?