Even if it is hard (and I can hardly imagine being able to do it myself oh gosh) if it helps any your improvement is really amazing and hey, now we have all these great OCs and designs to admire, even if I think you’d make it good regardless of tits.
ahahaha thank you.
new blog title should be “good regardless of tits”
Half of the reason my characters’ appearances end up changing is cause I draw them without a reference and just don’t double-check or fix it until I look back a year or so and go “woah, Bao used to be pale as fuck and MJ used to be skinny”
I have to ask, seeing just how much Jibril has changed over the years, was it ever hard (even in the beginning) to change a character that much? Like, did you ever wonder if you could salvage them as-is or what could have come of it? Just for the record yeah I think the change is better, just curious.
God, yeah, it’s hard. I mean, it’s still hard! I have a ton of characters that I’m still attached to and would like to do things with, but there are aspects of their character or their story that are pretty old/outdated and I don’t feel 100% comfortable with anymore, but it’s hard for me to let go of what’s already there in order to fix it. I’m kind of struggling with that right now! It’s harder for me now than it was when I was sixteen and I didn’t give as much of a shit, for whatever reason.
To be honest, I can’t remember exactly how/when Jibril changed so much because I don’t have a very good record of those “in-between” sketches/notes, but I can say from having done it so much that it’s usually a very gradual thing. Part of it is just me making really small changes every year or so until they’re super different. The other part of it is me leaving stories alone for so long I forget what I had originally planned and just filling in the gaps in my memory with new stuff.
A lot of the stuff with Jibril in particular was me realizing what I had originally planned was kinda stupid, haha. Like all of the “angel” characters have morphed from being very traditional animu angels with wings and shit to being just normal-looking people who aren’t exactly human.
New Masters Academy is starting a weekly series of life drawing sessions on their youtube channel
Oh hey, thanks for the heads up! Link to it for everyone here.
Seems like it could potentially be a really useful resource. (Man though, pop-up windows during a gesture drawing?? talk about distracting!! At least there’s a pause button, though that kinda defeats the purpose, hahaha.)
The biggest thing about figure drawing, and drawing in general, is that it’s like a muscle. You’ve got to work it out regularly and often. I took classes for years in a row and developed the ability to draw from life gradually over those years. You take what you learn with you and build a foundation for future drawings, but you do have to keep at it to keep those muscles primed!
Which is why, when I don’t draw for a week or so at a time, everything I draw comes out really sloppy and I get frustrated :P You’ve just gotta work through that.
I did take some figure drawing classes but they could only get one model to do it... both times. Nothing against her! But I would have liked some variety...
Yeah, that’s always a shame! The good thing about drawing the same model a lot of times is that you really get to know their body well, which is good reference for how people can look very different depending on how they’re posed— but variety is the spice of life, and it’s always more helpful artistically.
If you can branch out and look for classes at other locations that might have different/more varied models, I really recommend it! And if not, there’s definitely some online resources for gesturing from stock photos and such.
If you can convince a close friend or someone to model for you, that might be fun too! If you’re interested.
I’ll tell you a fun story about my first experience with “figure” drawing… one of my first classes, we honest to god had a beat-up mannequin with a missing hand for a model. And I got to draw that a whoooole bunch of times. As if it was ever going to look different. Or, you know, at all like an actual human. LUCKILY, in my second class I had a different prof who knew the value of having an actual model, and that was a great experience.
chubby models are the best to draw! rounded shapes, so fun
Yes!! I had a really cute, short, curvy model a while back and she was just a joy. I also had an older gentleman once, and that was sooo much fun. He had a very short torso with looong legs and was relatively slim with whipcordy muscles, and then a lot of slightly saggy wrinkly skin.
One of my favorites was a woman who had a very wide, angular pelvis, she created some really beautiful contours with her poses and I loved drawing her.
I love how you draw bodies!! I have such a hard time with drawing fat. I can get the underlaying muscles but then adding on the fat? Ugh. :D any tips you'd be willing to share
Have you ever done figure drawing, anon? And just on the computer is fine, but it’s not quite the same as drawing from a model in real life! It’s fantastic because you get to really study what regular folks look like and how their form shifts from pose to pose. I’ve had some really cool models in the classes I’ve taken, and I haven’t even had all that many, and sometimes even now I’ll think back on a particular quirk their body had, or remember the way the light hit them a certain way, and it’ll help me with a drawing I’m doing now, years later!
Actually, once I get my shit together, I’d really like to get back to doing figure drawing semi-regularly, because I’m wayyy out of practice, haha.
But outside of drawing from a model, the best advice I can give you is to just study what the regular people around you all the time look like. Go people watching, draw your friends, look at yourself in the mirror and draw what you see. If you follow inspiration blogs or look at photos of models, look for blogs that feature people who aren’t your typical airbrushed fashion-mag types and try to get a sense of the wide range of people who are out there!
PLUS that you can still be big and be a sneaky rogue! and like c’mon he’s ferelden they’re bigger and hairier by nature. basically your art is perfect ok
I LOVE ROGUES THAT AREN’T JUST TINY LIL WAIFS OKAY this is one of the reasons Sigrun is The Best, because she’s this short, stocky lil bruiser rogue. She’s a ROGUE TANK. Her + Nate + Velanna are always my go-to party when I play Awakening, regardless of my warden’s class. *v*
Varric— also totally awesome. And I sure remember the grief I got for drawing a thick Isabela, but screw that, rogues come in all sizes~
ugh i just absolutely LOVE your art. you draw bodies so perfectly like everything just falls in the right way in the right places and no matter what body type (I'm so glad you include SO MANY BODY TYPES) it just always looks really natural. Also glad that you draw Nathaniel as a bigger, heavier-set dude uwu
ahhhh thank you!! ;u; I’m so glad!! And yeah I always pictured Nate as kind of a tall, broad dude and I like showing people who are really fit without necessarily looking like underwear models, you know what I mean?
Notes: I cannot apologize enough for how long this update took. I decided once I finished the rough draft to bend my own rules about chapters shifting character perspective to make this into a two chapter update. So I hope that’s a little bonus, and that it was worth the wait.
Thanks, as always, to my lovely roommate serenity-fails for beta-ing and for talking out ideas with me and just generally being amazing support. Chapter 13 features some of her art. She also passed on a few positive comments she’d heard on the fic and showed me that someone even made a fanmix! I cannot tell you how much that brightened my day. I’d love to hear from any of you directly, though, you can always reach me on AO3 or here on tumblr!
Thank you for continuing to read, I really hope you enjoy these chapters!
Chapter(s) Summary: Finding the ancient thaig sets in motion a terrible chain of events that leaves Hawke and company struggling for survival and desperate to find a way out. And as if things couldn’t get worse, finding Velanna’s old Warden companions may be Carver’s only hope. General Summary: Anders wasn’t the only mage to join the Wardens in Amaranthine. What if Justice had chosen a very different host? And what if a very different revolution had shaken the foundations of Kirkwall? When Hawke and company seek out an expert on the Deep Roads, they meet a cantankerous elf woman named Velanna with a mysterious past and a passion for elves’ rights. None of them could imagine the meeting might change their world forever. Pairings: (eventually) M!Hawke/Fenris, Nathaniel/Velanna, Merrill/Orana, Aveline/Donnic, a touch of Carver/Merrill Warnings: Video game grade violence, nothing more.
Hello. Let me start off by saying I've really enjoyed a great deal of your artwork, particularly the Nathaniel and Velanna stuff (which cemented my choice to create an male elf inquisitor who gets up to all manner of awkward seduction with the significantly taller Cassandra). But anyway, the question I had was what is your opinion of the sheer quantity of fanart for the 3rd dragon age game, which hasn't even come out yet? It's kinda crazy to me when I take a step back and look at it.
As for my “opinion”… haha, I mean, obviously I’ve participated in Inquisition’s “hype fandom” myself, seeing as I’ve drawn some of the new characters. As for the quantity… I think Dragon Age fandom is full of a lot of really skilled, passionate people who like to express their excitement creatively! During the long wait for the game to be released some people have gotten very speculative, and I do hope they won’t be disappointed later, but I think that just goes to show the way fans have always liked to interact with Dragon Age. It’s always been a game series that allowed for players to immerse themselves in the universe and create whatever kind of story they wanted, and that’s part of why I love it so much.
It was the war’s fault that she was there, in dungarees and with all her wavy red hair tied back in a kerchief, her hands grubby in the crevices of her knuckles and palms, holding pneumatic tools she hadn’t known had existed two weeks before, wearing a gold locket with Tom’s picture in it the way his letters promised he kept what few pictures he had of her wedged in the crevices of the metal that held his bunk to the wall. The war was responsible for how the nails she’d always kept so nice were ragged at the tips and cuticles, and rimmed around and beneath with heavy black-brown grease; the war was why she came home to an empty house and cooked supper for one and jumped in the middle of the night at every unexplained noise and sometimes stayed awake until dawn, hugging Tom’s pillow to her chest and telling herself it was going to be all right.
She wouldn’t complain; she was a good girl who never complained. She just wanted God and the rest of the universe to be clear on the point of the matter of her suffering. She had done nothing wrong; it was the war.
Patty White had all of five weeks to spend with her new husband before he was called away to serve in the war. Now living miles from her family, in an empty house, working with the other military wives at a factory job, Patty is more isolated than she’s ever been. But she finds a friend in one of her fellow workers, and between the two of them, the loneliness and hopelessness of wartime begins to recede.