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#photo drawover
akysi · 3 months
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Aaaaaahh my Lumi plush from @starteas arrived today! :'D (after being delivered to the wrong door in my building lol) I couldn't resist taking a picture and drawing a few of my own star friends too :'DDD
They all seem really curious about their new friend, and I bet they're eager to give them a good home here ^_^
Go check out Lumi and the Great Big Galaxy @latgbg, it's a very cool indie animation project!
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jurijurijurious · 2 years
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I have the attn span of a gnat this week, every night a new WIP. Fancied doing a smexy photo drawover and it's converting nicely.  Might do both a safe-but-suggestive and a more explicit version of this one. I love them.
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soydeleon · 6 months
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Sad old man core
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hattiestgal · 5 months
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For today's fen: Close Analysis...
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woetoy · 11 months
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wait u should show the button up 🥺🫶 u got this
the silliest one I have atm! but I need something MORE embarrassing!!! >:)
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kermakatti · 2 years
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POV: oot mun kanssa Severin Grillin autoluukulla
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salpho · 2 years
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He seet
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sarenesaryn · 6 months
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warning
this
bitch
bites ! !
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shockpine · 5 months
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35mm photo drawover for chemiclast!
(image is cropped, full thing is like 35MB)
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ferretrix · 5 months
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hey, long time admirer of your stuff! ive just been wondering, though, how exactly do you do your eyes? like.. obviously they're different from character to character, but how do you usually form them and whatnot?
thank you ! - 💥
heya thank you :) it's been a while since i answered one of these in depth but for you good anon i will try my best..... Here's the simple answer:
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Here is some more thought-process/behind the scenes stuff:
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Obviously head angle determines many things about drawing eyes; I've been trying harder to keep it in mind when I'm putting lines down, and it'll generally make them look more grounded/offer better depth. The main takeaway from head angle is how are the eye sockets oriented. Doing drawovers of photographs is a cheap+easy way to get a feel for this, but I wouldn't worry about 100% anatomical accuracy; what I'm trying to get a feel for is the placement of eyes versus the brow/nose bridges.
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The amount of detail I put into eyes is wildly inconsistent haha it rly depends on the piece and art style, but the (for lack of a better word) "definition lines" and spots of black in deep shadow make up most of the detailed stuff. I'm still not great at drawing massively distinctive eye shapes but I try to maintain a general sense of one for different faces (ex. Rectangular, narrow, round, angled up or down). I'll also be the first to admit it takes a lot of conscious thought to reproduce the same line variation/angles in someone's eyes each time you draw them, but if you're looking for advice on consistency those are examples of traits I'd keep in mind.
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That's it for the most part.... I don't think the way I draw eyes is particularly unique lol so here are a few things that have gotten me where I am:
other people's art, a lot of which is manga. when I say naruto taught me to draw im only half joking hwheeze. my art tastes lean towards manga/comic stylization so none of this is hugely realistic overall....
that being said, I do like the more realistic side of manga/comic art so photo studies/anatomy tips have still been useful to me
this tutorial by sinix is one of my favorite things ever, because it explicitly discusses both anatomical knowledge AND how to translate that into shorthand
thanks for the ask!
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heydoodlebugart · 1 year
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Deserts of Snow and Sand
A set of Drawover Commissions for a paleofur client. I would love to do more pieces like this in the future, especially of more colourful dinos.
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The art and adjustments are by myself. The original photos are by Den Trushtin and Mical Franczak.
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owlpellet · 10 months
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If not for the 3 paged book, what details on the image itself gave it away?
Let's look at it! For those who missed it, this is the image in question:
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we already have a bad habit of disconnecting this sort of over the top high fantasy work from its creators (Angus McBride, Dave Mattingly, etc), which makes it easy to pass around in a memetic manner and kind of forget it's art in the first place. We tend to think of it almost as clipart, something generic, thomas kincade for people who play d&d. this makes it easily replicable and ripe for misuse, because people are less likely to seek out the source for something that already feels familiar and ubiquitous-- surely this is just public domain stuff, right?
Well, of course not. These days its easier than ever to just slap in a prompt that gives you something ALMOST familiar but not able to be meaningfully reverse searched, and that's how you end up with the current crisis on print sites and sellers like craggyscorner dot com, from where this image comes.
So how can you tell the familiar from the outright false? Some of the other images on the site this is from have better examples, but I'll stick with this one. Here are a few things to spot!
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1.) I'll get the meaty, weird hand out of the way first. Hands aren't a reliable tell every time, but the fucked-up little thumb makes this one nice and obvious for us.
2.) There is hair randomly visible despite his being hooded; the ripples of the fabric and the hair also seem to merge.
3.) The columns do not match in pattern or width, nor do the capitals on them make any sense. The brickwork also follows no pattern-- mistakes not made by someone of this ostensible rendering skill.
4.) His knees extend way, way far out from his body and he appears to have three of them.
5.) This is a big one: AI struggles with defining edges on things, and often contours edges of background items to warp and match ones in the foreground-- think of how edited instagram photos warp bricks behind the subject. The visual is similar to that. This can be seen to a lesser degree in many places on the image, such as the book by the hand, or the bricks along his backside.
6.) Escher architecture. Again, not a professional mistake.
7.) ?????? He does not appear to have feet. The image politely fudges itself behind the text.
8.) Lastly, the robes are just a mess. AI doesn't really understand seams, or layers, or really how clothes work at all, which is how he ends up with what appears to be two hoods and a chiffon wrap around his waist. The folds and shadows are busy enough to be believable at a glance but they hide that nothing appears to look.... correct.
Also just for fun I tried to do my most charitable drawover of his anatomy. Yeah.
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Can you spot more problems? You probably can.
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revolutionarywig · 5 months
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Hi! Just wondering how you approached styling Robespierre, as in, how do you balance historical accuracy and stylization? I’m trying to stylize my favorite historical figure and I’m struggling so much with this aspect ahhh. And hope you have a great day and tysm!
Hi! Sorry for the delay and thanks for the ask!
I think the same principle of character design in general applies to drawing historical characters as well. They all trace back to finding what is unique about that historical character's features and making the drawing immediately recognizable. Another thing is there is a difference between stylization vs. design. Your drawing can either be hyperrealistic or extremely stylized and the character can still be instantly recognizable. On the other hand, if for example, you change the nose shape, it means you are changing the design and that can make the figure unidentifiable.
(To be fair I think I yassify Robespierre a bit much lol, maybe less so with other frev figures but specifically with Robespierre, I tend to take a bit more creative liberty)
I think what might help is to start from written descriptions only. If your historical figure has been described a lot then you might see a pattern emerging, making it a key trait to the design.
For example, Robespierre....
-wig and green glasses TM -leftover marks of smallpox from young age -"cat-like" or "flat" features (so this means i would go with more square face shapes than long face) -green iris Then the next step would be to go over ideally contemporary portraits (or photos) of the figure you are drawing. It might also help you find commonality to what makes the historical figure distinct.
For example, Robespierre again....
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(forgive me for the weird drawover.....)
I would say in most of his portraits he has a very consistent smooth nose bridge as well as that slight wrinkle on his cheek occasionally. Squarish face in most portraits (the deseine bust is quite an exception), quite thin eyebrows, double eyelids. And in the side profile the slope of forehead and rounded chin are also quite consistent. So those traits would be the basis and I will try to include all of them whenever I draw him. Other parts can be more flexible. Another thing with bringing more historical feel to the figure is the body silhouette. The way clothes were tailored back in the days are drastically different and that shapes how the body looks as well as how the character moves.
And to wrap up, there is also nothing wrong with yassifying your favourite historical character in the way you usually draw. Nothing wrong with drawing them like the babygirls that they are.
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macaronichewtoyz · 7 months
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Some silly drawovers of some sonies, Valentine and Tiney! Original photos under the cut.
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kermakatti · 2 years
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Fursona photo drawover experiment with that old shot of my posterior as a base ^_^
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beef-unknwn · 5 months
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chill bro nobody takin that from you!!
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(this is a drawover of @/minoodxdralie's twitter photo, shown and linked below)
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Link!
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