• Gifs for begginers
• Gif making
• Easy gif tutorial for Mac
• Blur effect
• Tweening frames
• Transition tutorial
• How to add transitions to gifs
• Reducing the amount of color on your gif
• How to make a 500px x 500px gif
• Two gifs on one canvas
• Multiple animations with continuous effect in one image
• How to put multiple gifs in one shape them
• Lyrics gif tutorial
• Gif inside gif
• Overlay gifs
• Another overlay gif
• Spinning effect
• Twirly effect

(Source: azulcristal)

sillysymphonic:

theorieen:

most of what i post will be tutorials, i hope that’s ok.

hands are cool!

AMAZING REFERENCE

avali:

There are some things that are incredible resources for artists that just need to be shared, and this is one of them. I certainly have a long, long way to go in understanding them and putting them to use, but I think they’re incredibly valuable and that they clearly and cleanly define what an artist strives for in their work. 

The full note set is here, but I’ll list a few of my favorites. 

• Drawing is describing form. The importance is not in the finish, but in its veracity (its truth, and accuracy of construction).
• Until you can learn to ignore details, you won’t learn to draw.
• Whatever the form or volume, start with the ideal. Then, compare and modify your ideal to fit the model.
• Where the figure rests on something, draw the imprint of the form first.
• Squinting is important in order to reduce the outline to its greatest simplicity. Avoid all those bumps
• Light and shadow in itself produces design.
• Light shapes create the image; dark shapes create the pattern and the design. It is light shapes that give form; the dark shapes make the pattern.
• The shadow pattern may look right, but more often than not it is the light pattern that is wrong.
• See two main tones—a light area and a shadow area. Some variation within each. If you squint, you can narrow it down to two basic tones. Separate lights from shadows. Increase the contrast. Make all areas in the light a little lighter than you see them, and all areas in the shadow a little darker than you see them. the lightest light in the shadow is darker than the darkest dark in the light. The object is to make all lighted areas hold together as one group, as should the shadow areas. Otherwise, the subject will not hold together; it will lose validity.
• Over modeling comes from incorrect values. One of the quickest ways to correct a problem is to clean up the light and dark areas, simplifying them. Reflected light should never be as light as the main lights. Draw them at least two values darker than anything in the light.
• The eye instinctively goes to the light areas in a picture. The real problem is the half-tones: which goes to the light? Which goes to the shadow? Half tones with the light should be made lighter. Those with the shadow should be made darker. Squinting helps here. When it comes to half-tones, when it doubt, leave it out. Make certain that half-tones go around the form. If you don’t, your drawing will look two-dimensional.
• If two light half-tone passages appear to be equal, squint until one is almost lost to view. Obviously, the one that’s almost lost to view is the lighter. Squinting prevents one from being engrossed in detail. It encompasses the total scene.Your drawing, viewed with eyes wide open, should look like the model does with your eyes half shut. Squinting also works with photographs.
• Make the paper more beautiful with every stroke added. Learn to ignore details, so that you can draw details. Look for the big, basic truths.
• Construction is more important than finish.
• Gross roundness is characteristic of bad modeling. The most boring thing is a sphere. It does not exist in a human figure.
• Try to determine planes that are at right angles to the light. All others will be slightly darker.
• A change in outline or contour is also a change in plane. Modeling of a surface should be set out in planes of tone, first larger ones, then smaller ones. Good modeling subtly fuses them together.
• The degree of finish is a matter of how far you continue breaking down individual planes, probing for details.
• Details are easy to see. It’s the big form that’s most difficult.

astroize:

you guys know all my secrets now

inkydonkey:

Picking colors Tutorial by *lyamangaka

colors! yaay!

(Source: transcendentalme)

reapersun:

someone was asking me how i paint so i tried to make a progress thingy

i don’t know if this is even helpful

(high res)

mostly10:

a handy guide

ofabeautifulnight:

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rikitee:

these are some blogs i have discovered that offer tutorials, recources or psds that will be helpful for graphic/gif makers, enjoy!

• welovetemplates
• lovephotoshop
• fuckyeahrecources
• pscs5
• prettytext
• skycolorings
• caps-coloring
• drunkandcoloring

bonus, individual tutorials:

• two gifs on one canvas
• gif tutorial / and this one / or this
• curves
• cutting out things
• extending backgrounds
• using negative space
• extending the background of a gif
• transition on gifs
• 3d effect
• sharpening

gataro:

paperflower86:

I got a couple of messages from people asking about the paper embroidery in this pic so I decided to make a little tutorial: learn how to embroider paper with shark!Erik and lab-rat!Charles

Edit: There’s a good instructional video here that explains all the basic embroidery stitches much better than my crappy diagrams.

Edit2: Tumblr made the pic a bit small, you can see the tutorial bigger here on Deviant Art.

This is so adorable. !0A0 

euclase:

Sometimes I get asked how to do skintones when painting.

I will try to explain with the help of Not Nearly Naked Enough Castiel…

So the actual color of skin comes from keratin, which is approximately the color of your bitten-off fingernail (sort of a translucent barely-yellow). It doesn’t really matter what your race is. Different pigments reflect and absorb light differently, and a blue lamp is going to make you look blue. But keratin is the same. That’s why human skin (and even animal skin) is all a “flesh tone.” It’s the same stuff.

So the rules of skin color are pretty much the same no matter your race or the lighting in the room: the thinner the skin, the richer the color. That’s because what skin does is to separate the outside from the inside, and everything on your inside is bloody. So the thinner the skin, the more blood we’re seeing.

And most humans (most humans) have red blood. So if you take the keratin and the blood and put them together, you get a basic scale of color: barely-yellow to blood red. Anywhere in there is skin color on any person. Your race (and the amount of melanin in your skin) just makes it lighter or darker, but the scale is the same.

The actual colors on any individual face are a factor of skin thickness and how close the blood lies to the surface of the skin. So if you know someone’s basic skin color (for example, that they’re Caucasian with a surfer’s tan), then you can use the scale of barely-yellow to blood red to determine the colors of highlights and shadows while painting.

I took eyedrop samples of Not Nearly Naked Enough Castiel’s face to demonstrate what I mean:

1. Thicker skin (the end of your nose, your eyebrow, the corners of your mouth, and your ear) appears dull and barely-yellow. It reflects the most light and looks almost white in some places. We can’t see any blood red underneath.
2. Medium skin (your forehead, cheeks, and neck) appears a somewhat richer orange. It reflects some light but also allows some light to pass through the skin so we can see a little bit of the blood red.
3. Thin skin (your lips, nostrils, and eyelids) appears deep red. It reflects the least amount of light and allows the most light to pass through. These are the bits that look super cherry-colored when you’re out in the cold. The blood is very close to the surface of the skin.

If you had darker skin, or if the lighting was different, the idea would be the same: thicker skin would appear dull and more opaque (barely-yellow) and would reflect more light, whereas thin skin would appear darker and richer (blood red) because blood is closer to the surface.

A general rule of thumb that I use to paint skin colors is this: (1) a lot of dull yellow, (2) a medium amount of orange, and (3) a little bit of deep red. If you pick the medium color first, then it’s easier to pick the yellow and the red from there. And it works with any skin tone in any lighting—you just have to adjust accordingly.

Watch out for hair and stubble, though. Stubble is hair, and hair is pure keratin, which means there’s no blood at all. Stubble can make skin look dull (and sometimes appear grayish).

Woooooot. 

And tbh, I don’t even know if that will help anyone, but at least now you have some Cas on your dash.

daunt:

eyecager:

Perspective and Composition- Right click + New tab to see the images much bigger.

Chopped up fox-orian’s tutorial. You can see the full sized ones on their gallery and their magnificent work. They also have a tumblr!

MORE than worth reading. For anyone who has trouble with composition (or doesn’t understand it) you may find this useful!  (I know I do!)

br0-harry:

_{basically it was just traced from this very gif}

 
_{and i used next pics to draw John}

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