So I may have possibly previously mentioned a certain productivity-enhancing extension so you all know I’m Good for this, right, I know what I’m talking about, I got the goods, slyly opens trenchcoat

It’s 2014 and everyone’s talking about how they’re gonna make it their year - well HabitRPG is one of the best productivity tools I’ve ever used and it makes even the most difficult and laborious of tasks so much easier, and helps beat procrastination like nothing else I’ve ever used.

It’s free, so you might as well give it a try before you go back to school, college, or work!

Reblogged from rethis

ziggy9911 asked:

Just curious on how you approach composition and perspective. I feel as if sometimes I think too hard, not really about what to draw but how to draw it and make it look interesting. The comic panels you have been doing are amazing. Any tips/references on improving my knowledge of composition and perspective? What do you think about as you lay your pencil on the drawing paper? what goes through your mind?

jakewyattriot answered:

*STANDARD DISCLAIMER* I’m not handing down life lessons or trying to assert that there’s a ‘correct way’ to draw. I’m just trying to make perspective more approachable for thems that want to tackle it.

Okay. Let’s do this.

1. Understand what perspective is and what it’s for. Stay away from rulers while you get comfortable.

Everyone struggles with perspective because 1. it’s not well or widely taught and 2. artists tend to see linear perspective as a set of rules rather than a set of tools.

Linear perspective is a TOOL we use to create and depict SPACE. That’s it. That’s all it is. Your goal is not to draw in ‘accurate linear perspective.’ Stay away from the ruler and precision for as long as you can. Your goal is to create the illusion of three-dimensional space on a two-dimensional surface. Perspective is just a tool to help you construct and correct that space.

2. Know in your bones that you can ONLY learn to draw in perspective through physical practice. There is no other way.

Grab some paper and draw with me. If you match me drawing for drawing you will be more fluent in linear perspective and spatial drawing by the end of this post. Unfortunately if you don’t, you won’t be.

3. Sketch around in rough perspective. NO RULERS.

So let’s make some simple space. let’s start with a two dimensional surface…

K. We have a flat, 2D surface. Let’s create some depth by putting a vanishing point in the middle, and having parallel lines converge towards it. Make a gridded plane inside that space.

Good. Let’s make that space meaningful by adding a dude and a road or something. (Again, parallel ‘depth lines’ will converge into the vanishing point along the horizon)

And now we have the rough illusion of some space. I didn’t use any rulers, and it’s not perfectly accurate, but we got our depth from that vanishing point right in the middle of the page. And since we have a little dude in there, we’ve got human scale, which allows us to gauge the size of the space we’ve created. Gives it meaning.

You need people or cars or some recognizable, human-scale THING in there as a frame of reference or your space won’t mean much to your viewer. Watch. We can make that same basic space a whole lot bigger like this:

Same vanishing point in the same place, completely different scale, and a totally different feeling of space. Cool, right?

3. Sketch around in rough perspective MORE. STAY LOOSE.

See what sort of spaces and feelings you can create with vanishing points and gridded planes on a post-it or something. Super small, super rough. Feel it out. Pick a vanishing point or lay out a grid in perspective, and MAKE SOME SPACE. Do it. Draw, I don’t know, a lady and her dog in a desert. I’ll do it, too.

Good job. LOOK AT YOU creating the illusion of space! This is how you’ll thumbnail and plan anything you want to draw in space. All of my drawings start this way. I think about how I want the viewer to feel and then play around with space and composition until I find something that works.

Once you have a sketch you like, and space that you feel, THEN you can take out the ruler and make it more accurate and convincing.

4. Draw environments from life.

I cannot stress this enough. Draw the world around you, try to draw the shapes and angles as you see them, and you will ‘get’ how and why perspective is used. Use something permanent so that you’ll move fast and commit. I usually use black prismacolor pencil.

You’ll learn or reinforce something with every drawing. I learned a lot about multiple vanishing points from this drawing:

Learned from the receding, winding space I tired to draw here:

Layered, interior spaces:

You get the idea.

Life drawing will also help you develop your own shorthand and language for depicting textures, materials, details, natural and architectural features, etc. Do it. Do it all the time. Go to pretty or interesting places just to draw them.

Take a second and just draw a quick sketch of whatever room you’re in.

5. Perspective in formal Illustration: apply what you’ve learned.

1. I always start with research. For this particular location I looked at Angkor Wat.

2. Once I had enough reference, I did a bunch of little thumbnail sketches with a very loose sense of space and picked the one I liked best.

3. Scanned the thumbnail and drew a little more clearly over it. Worked out the rough space before using formal perspective.

4. Reinforced the space with formal perspective. I dropped in pre-made vanishing points over my drawing. If I were drawing in real media here’s where I’d get out the ruler to sketch in some accurate space.

5. Drew the damn thing. Because I do my research, draw from life, and am comfortable drawing in perspective, I can wing it. I just sort of ‘build’ the ruins freehand in the space I’ve established, keeping it more or less accurate, experimenting and playing with details along the way. I erase a lot, too, both in PS and when drawing in pencil. Keeps it fun for me.

And that’s what I know about composition and perspective. If you want more formal instruction on perspective and it’s uses, you can use John Buscema’s How to Draw Comics the Marvel Way. Or If you want to get really intense about it, Andrew Loomis can help you

Mis opciones para el NaNoWriMo 2014

¿No lo sentís en el aire? ¿Cómo se va acercando noviembre y todo lo que trae consigo?


Para este año me ha surgido una duda existencial y voy a necesitar de vuestra ayuda, he dejado abajo una encuesta para haceros la vida más fácil. La cosa es que tengo dos historias que podría escribir y no me decido por ninguna, os cuento un poco por encima a ver cuál os parece más interesante:

Historia Vieja

La empecé hace mucho, mucho tiempo y es muy, muy larga, al final la dejé porque no estaba suficientemente madura y me pareció que no valía la pena terminar. Después de darle vueltas se me ha ocurrido otra forma de enfocar la historia y darle más interés del que tenía, tendría que reescribirla de cero y tengo muchos cabos sin atar, pero como la mayor parte del argumento ya lo tengo resulto y, repito, la historia es larga, estaría bien para NaNoWriMo, lo conseguiría casi, casi seguro (este seguro no cubre misteriosas catástrofes).

La historia empieza con una niña enviada a vivir con unos parientes ricos (spoliers: no son parientes, su abuela es un poco estafadora) en la gran ciudad. La niña puede comunicarse con animales (y algunas otras cosas) y el argumento empieza siguiendo su vida en la ciudad y cómo crece y va descubriendo cosas del mundo que la rodea, la mayoría desagradables, pero también antiguas magias y maldiciones. Mezcla steampunk con fantasía épica.

Historia Nueva

Creo que tengo suficiente argumento como para llegar a las 50.000 palabras, pero es una historia que he ido rumiando desde hace bastante poco, así que la tengo mal definida aún, el NaNo podría ayudarme a perfilarla.

Trata de una joven que va a terminar el instituto y una vieja se cuela en su casa y le dice que es una bruja, o lo será, si aprende lo que le manda y completa su misión antes de un año (si no lo hace, pueden ocurrir cosas malas). Mi idea originariamente era que fuera de temática sobrenatural y un tanto oscura, pero tengo una lista inmensa de escenas que parecen sacadas de Bridget Jones, pero con magia, así que no sé qué hacer con esta historia, la verdad xD Otra parte positiva es como sé un poco del tema puedo meter paja si me quedo corta, como resucitar a Dion Fortune y usarla de personaje invitado secundario, todo el mundo y su madre usa a Aleister Crowley en sus ficciones sobrenaturales, yo uso a Fortune.

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from Vel Anima



43 Missing Students, a Mass Grave and a Suspect: Mexico’s Police

They were farm boys who did well in school and took one of the few options available beyond the backbreaking work in the corn and bean fields of southern Mexico: enrolling in a local teachers college with a history of radicalism but the promise of a stable classroom job.
Leonel Castro, 19, the oldest of seven siblings, vowed to use his salary to help his impoverished family. Júlio César, 19, thought he could run a school one day and ensure the best for the next generation. Adán Abraham de la Cruz, 23, wanted to put his computer skills to good use in the classroom.
“He was just preparing himself to get ahead like any young person would do,” said Mr. de la Cruz’s father, Bernabé.
Now, they are among 43 students reported missing after deadly clashes with the police on Sept. 26, when at least six student protesters and bystanders were killed in the restive, rural state of Guerrero, one of the poorest in the country and long afflicted by political, social and criminal upheaval.
Read more.
Photo: The parents of 43 students missing since Sept. 26 met Sunday at the teachers college their children attended in southern Mexico. Adriana Zehbrauskas for The New York Times

we need to stand and make the world know about this.



43 Missing Students, a Mass Grave and a Suspect: Mexico’s Police

we need to stand and make the world know about this.

Reblogged from mis-chingaderitas