Head to Toews

The inspiration that fuels the mind of Adam Toews - animator, illustrator, and current art director on Fx's upcoming original animated series, Chozen.
jpolgar1:

Selling these 11x17, glossy-ass, TMNT posters at Wondercon this FRIDAY-SUNDAY!  I’m located at AA-11”Space Crab Inc”.  

jpolgar1:

Selling these 11x17, glossy-ass, TMNT posters at Wondercon this FRIDAY-SUNDAY!  I’m located at AA-11”Space Crab Inc”.  

(via henrique-inspiration)

artiststoolbox:

bloochikin:

fucktonofanatomyreferences:

A generous fuck-ton of muscular male abdomen references.

* As always with large images, you gotta reverse-image search ‘em to find the larger size. Sorry about that. It’s the most helpful reference you will find on abs, so far, so I encourage you to search it.

The reason why some people have issues with abs is because, most of the time, the person who’s ripped has 0% fat on ‘em, so it looks ridiculously artificial. You gotta contrast the muscle in a very precise and concise way, and it can look fake, depending on the lighting and corporeal structure of the circumstance. And I say that cautiously, as by “fake” I don’t mean they look disproportionate; it just sometimes doesn’t look like how skin and muscle should appear. (And I know there are some repeated images in this post, but since it’s about something specific, I thought it’d be helpful to have ‘em conglomerated in one place.)

[From various sources]

Q

first image source

second image source

third image source

fourth image source

fifth image source (the gif)

sixth image source

seventh image source

eighth image source

ninth image source

:D Yay!! I managed to grab all the sources!

(via poopbird)

giancarlovolpe:

lexxercise:

I’ve been getting a lot of asks lately about the brushes and textures I use in my work, so here’s a BIG FAT REFERENCE POST for those of you who were curious! Bear in mind that I’m really lazy and don’t know what half the settings do, so don’t be afraid to experiment to figure out what works best for you :>

BRUSHES

Pencil

I use the pencil tool with SAI’s native paper texture both for sketching and for applying opaque color with no blending. Lower opacities give it the feel of different pencil hardnesses, while full opacity makes it more like a palette knife, laying down hard-edged, heavy color for detail work or eventual blending with other brushes.

Ink Pen

Mostly made this because I’m lazy and I didn’t want to have to keep turning my textures off/opacity up when I wanted to ink something (even though I don’t do it very often), or lay down flat colors. I find the line quality to be much more crisp than Photoshop, and you can manually adjust in-program stabilization to help smooth out hand wobbles.

Round Brush

The plain ol’ brush tool acts as sort of an in-between for me in terms of brush flow. It’s heavier than my usual workhorse brush, for faster color application and rough blending, but not as heavy as the pencil tool, which has no blending at all. I like to use the canvas texture on this brush to help break up the unnatural smoothness that usually accompanies digital brushes, but it works just fine without.

Flat Brush

A brush tool set to flat bristle is by far my favorite to paint with. I don’t use any textures with it because I think the shape of the brush provides enough of that by itself. I use it for everything from rough washes to more refined shaping and polish. It’s just GREAT.

Watercolor

Best used for smooth blending, washes, gradients, and smoky atmospheric effects.

Cloud

Basically a grittier version of the watercolor tool, because too much smoothness weird me out. Good for clouds and fog, as the name suggests, or just less boring gradient fills.

TEXTURE OVERLAY

To further stave off the artificially smooth look of digital painting, I almost always overlay some sort of paper texture, and it’s almost always this one, which I scanned and edited myself. You’re all welcome to use it, no permission required!

Using overlays in SAI is just as easy as using them in Photoshop. Just paste the texture into its own layer above everything you want it to apply to, and change the layer mode to Overlay. That’s it!

Want a more prominent texture? Up the contrast. Something more subtle? Lower the contrast or reduce the layer opacity. You can also use a tinted overlay to adjust the overall palette and bring a little more color unity to an otherwise disparate piece! Just be aware that too much texture can hurt the readability of the work beneath it, so I’d err on the side of subtlety.

Hope that helps!

-L

Hell yeah.

(via henrique-inspiration)

illestblue:

NEW CHOZEN TONIGHT AFTER OUR LITTLE HIATUS! 
Tune in at 10:30 for a brand new episode!
If you were curious about Jamal from the pilot, this is your chance to get to know more about that character.. :D

illestblue:

NEW CHOZEN TONIGHT AFTER OUR LITTLE HIATUS! 

Tune in at 10:30 for a brand new episode!

If you were curious about Jamal from the pilot, this is your chance to get to know more about that character.. :D