bikitchi Sea Kingdom


Color palette tutorial time!

This is by no means the Only Way To Pick Colors—it’s just a relatively-simple method I use sometimes.  I’ve found it works pretty well, almost regardless of what colors you pick—as long as you can keep them organized by those light/dark warm/cool categories, and make sure one category takes up a significantly higher proportion of page space, it usually turns out pretty good!

(via burdge)


Tuesday tips — Costume Design 101.

Costume design is a very important part of character design.  It tells you a whole lot about your character; ie. age, personality, what she/he likes, time period, strength, … etc.  It supposed to enhance a character’s personality.  

Here are my process in tackling costume design.

1.  Find a good reference.  Inspiration is key!

2.  Look for a good silhouette that is recognizable and different from other characters.

3.  Pick one silhouette and find smaller shape within.  Do tons of variation and have fun.

4.  Color variation.  Use variation the same color combination for all the design.  Keep it simple!

5.  Finish up and have fun.  It will also a good idea to think of texture and material.


(via animationtidbits)


NOTE: this is no way the best or most common method of picking colour, it is simply what i’ve found very useful for my own personal use, and it works very well in my favour. i’m also not a native english speaker so there might show up some embarrassing spelling mistakes. if there’s any questions feel free to hit me up in my askbox!


(via minuiko)


Thanks for all the great emails and questions about putting a portfolio together. I’ve been getting a lot of the same questions and decided it would be a better use of my time to write it all out. I’ve derived the content from from my own experience and internships before having a full-time job. As you’ll read, a portfolio is the most important thing you’ll do when applying to a job. I’ve tried to be as detailed as possible.

These are the first five pages in a series of posts about how to layout a portfolio, including content, images, size, material and everything in between. Part I is for the artist still deciding what to do for a discipline. I’ve catered the last three pages to a visual development portfolio for animation but the principles can be applied to any artistic presentation (illustration, design, even interior design).

These are my opinions and I realize there are many ideas out there which are also fantastic. What I have written are simple truths and tips I’ve learned along the way. This doesn’t represent a studio I work or will work for. I hope it is helpful and can provide some perspective into a competitive portfolio and help you land your next job!   

(via animationtidbits)

(Source: lmnpnch, via minuiko)



this is my new favourite gif


i have never noticed before today that spidey wasn’t real

still laughing about it 3 hours later


That moment is why I could never like the movie, haha. I noticed but NONE OF MY FRIENDS BELIEVED ME!

(Source: pitynotawidow-archive, via hellotailor)

In Which Diversity Isn't a Myth


Ok. I’m tired of the typical vampire, werewolf and fairy.I’m also tired of the occidental-centrism in mythology. Hence, this list.

I tried to included as many cultural variants as I could find and think of. (Unfortunately, I was restricted by language. Some Russian creatures…

bikitchi said: I <3 reading girl!steve but sometimes I think about how she probably wouldn’t have gotten the serum due to the times and her gender. But then what if Bucky got the serum and started fighting right away cuz he ain’t gonna be a good boy and just sell bonds and HYDRA kidnaps his girl and experiments on her, he rescues her but she’s not so frail anymore and mebbe she helps Peggy out w/ the H.C.s but she falls (??) & steph becomes tWS.


First, there was the time Steph was nineteen and Bucky was eighteen and he said he wanted to marry her. He said it into the skin of her stomach because that’s where his mouth was at the time and it seemed important to put those words out there. He had imagined her blushing and saying yes and then letting him keep her safe and healthy but especially safe.

She swatted the back of his head and told him not to be such a jerk and to get on with what he was doing.

Later, she wouldn’t stop volunteering at the veteran’s clinic even when he told her, he told her that he mom died doing the same thing and it just ain’t safe to mix with that kind of sick. She stood as tall as she could—somehow taller than the five-feet-tall-in-her-heels—and told him to come back when he wasn’t an ass.

Even later, flames licking up the sides of the only way out as it crashed away from sight, he told her to get outta there and she shouted back that she wouldn’t, not without him.

He was always trying to get her to back down and she said he never listened, that that wasn’t the point anyway. She still let him trail kisses down the space between her breasts, run his hands along her perfect skin. Sometimes, he was sure she used it against him—otherwise he would have sent her packing when she turned up again just outside their next mission with Peggy’s rifle.

(He kept telling her, it’s one thing for Peggy to run with the troops but the Howling Commandos weren’t troops, they were something else. Steph had a scar across her collarbone those days and he wished she didn’t, wished she hadn’t been the one they experimented on in Italy. But Peggy—or someone—kept telling her where they’d be and the rest of the guys weren’t listening when he said that she’d get hurt. Gabe told him one night—halfway through a bottle of whiskey—that they’d been in that cell together in Italy, they felt differently about what Steph could and could not do.)

Steph had been through hell and somehow that just made the clarity with which she saw the world sharper. Bucky was the hero they wrote songs for, but Steph—she’d have been worth a thousand of him any day of the week.

She wasn’t supposed to be in the train either. It was supposed to be him and Gabe and only them, but there she was again. She’d stowed away, he guessed afterward, and waited for them to make their move.

And then she picked up his shield and he swore in one blinding moment that it was a perfect fit, better than he’d ever been. The shield hadn’t come naturally to him, not like it did for her. He always wished she was home and safe, but for one moment he wished with such a perfect, fervent clarity that it had been her they’d made into the hero, not him.

It felt like she fell because he thought that. He was trying to get out from under the weight of being Captain America, even if it was only in the privacy of his own thoughts, and like always it was Steph who felt the pain of it.

Wasn’t that what always happened between them? Steph could have shouldered it all if only God had made her shoulders wider. Bucky had wished a thousand thousand times that it had been him with the bum heart, him with the bad lungs, him getting caught by Hydra, him knowing what it was like to be tortured, him waking up shaking and crying and screaming. And Steph just endured it, one after another.

And every wish, the whole long trail of them leading back to his earliest thoughts and his first dreams, was part of that last wish: he wished it had been him who fell.

What Peggy told him after Gabe pulled him out of the train: he had to live like Steph would be proud of.

He liked the sentiment and Peggy knew him well enough to know it was the only thing that could have gotten him to pick up that shield again, but it wasn’t quite right. Live like Steph would have, that was more like it. She’d be able to carry this weight too, if it had been him. She’d been beaten and broken a thousand times over, he couldn’t do less than her when the worst came his way.

He changed it a few days later, though: live like Steph, die like Steph.

Oh god, this is so good for me.  


I promised Lissa that I would take some process photos of how I draw rocks, because it is widely known that LISSA TREIMAN CAN’T DRAW ROCKS apparently, and so here they are!  It’s no video tutorial, but it’s something. :)

So drawing rocks is kinda different from drawing other stuff.
What I love about drawing rocks is that they’re abstract, but they’re abstract with their own logic and history to them.  Rocks look the way the do for a reason- sediments, erosion, eruption, human foot traffic, what have you- and it’s important to suss out those reasons while you’re drawing them.  Sometimes you know why rocks look the way they do (maybe you are intimately familiar with the Colorado plateau, I don’t know your deal), but a lot of the time it’s up to you to silently observe trends and features in the rock that speak to a grander system.

Learning geology is gonna seriously boost your rock-drawing skills.
At Bryce Canyon (technically an amphitheater or pothole!), you’re staring at the Pink Cliffs of the Claron formation- limestone eroded into elaborate fins and hoodoos through an ongoing freeze/thaw cycle.  Unlike the formations in Arches, where you can see elaborate upheavals and folds, Bryce’s sedimentary layers are blessedly flat- you can trace the layers across multiple hoodoos, each of them wearing differently according to their particular mineral composition.  Knowing this, knowing what to look for when you’re drawing a particular formation, is a fantastic tool for you as an artist- as you’re laying in the overall shape, these tiered layers give you visual anchors to check the scale and proportions of the rocks.  Thanks a lot, NATURE.

How I personally draw rocks.
A note about hatching- I generally prefer directional hatching, rather than flatter cross-hatching, when I’m working with pen.  Cross-hatching happens in the process, it’s inevitable, but hatching in a direction consistent with the form you’re drawing tends to make for much more plausible 3D forms that sit well in space.  Look to Franklin Booth and Charles Dana Gibson for some particularly expert hatching inspiration.  Try not to cry.  So!  Onto the process itself:

  • I start out with loose outlines, marking particularly important landmarks, change of planar direction, and any deep pits in the rock- they help to anchor the drawing down the line, and give me a nice base to work on top of.  This is the stage when I panic and think the sketch is going to turn out horribly.  It is an ugly stage.
  • From there, I tend to (apparently, I don’t think this is something I’m considering at the time) block out sections of rock to render with more detail, working the entire surface and trying to keep broader value structures in mind.  Those darker pits in the rock help ground me- they give me a “darkest dark” that I can work against as I’m laying down tones.
  • As I start working on new sections of rock, I’ll jump back and forth to cohere the sections, make sure they sit well in the value structure, that the forms are reading across the rock, etc.
  • While you sketch, make sure you aren’t overworking the surface of the rock- let your eyes go out of focus, and really prioritize where to add value, where to leave swaths of blank paper, etc.
  • Once I’m nearing the end of the sketch, I’ll do a quick pass of overall hatching to make sure the piece reads as a whole.  I love the local colour of the hoodoos- the transitions from pink to orange to white- and so I wanted to make sure there was a hint of that broad value structure in my sketch.
  • Add plants, if available.  Plants make everything better.

And you’re done!  Or, well, you’re kinda cold and your butt’s going numb.  Here’s the final piece I ended up with, alongside an in-focus photo of the rocks for comparison:

…it’s not perfect- I can start to pick it apart now that I have them side by side- but it’s pretty damn close! :)

Have fun drawing rocks ALL DAY LONG,

let's do some art!

failing that, reblog stuff i like