your eyes tell a hundred stories
hello!! my name is Kari (she/hers) on the interwebs and this is my art blog.
Ringling CA '18

|| 2014 CONS ||
ACen (May 16-18; Rosemont, IL)
Dashcon (July 11-13; Schaumburg, IL)

drop by my table if you're an attendee!

COMMISSIONS ARE OPEN
Please read this if you're interested!

seasaltinecrackers:

drawing with a semi-realistic style is actually pretty difficult cause sometimes the balance of cartoony and realism gets off so you look back at what you just drew and its like

image

"Don’t leave me again."

"I’m sorry. I won’t. I promise."

this is the only ending to the orange manga that i will accept

chiouart:

AHEM first off- none of the art featured above is mine- they are made by the talented Michelle Kwon and Mike Bidinger! Here at my school, Ringling :D

They’re two artists I definitely look up to and was asked to share some stuff they made!  They just finally wrapped up a year and a half long thesis project in form of a short called "Jinxy Jenkins & Lucky Lou" about an unlucky boy and lucky girl. 

Mike n Michelle are gonna keep posting concept art up until the web release of their film. I’d be super grateful if you could like the page to show some support and share it with anybody else who’s interested in animated shorts. YAA.

LINK FOR YOU and YOU and YOUUU ok, happy monday! 

lizzyjohn:

Digital studies, trying to get a good feel for tigers. These are the tidier ones. Mostly done off of deviantart stock photos I looked up under the ‘newest’ section.

"And please, watch over Kakeru very closely."

why do i draw things that make me want to cry

I realized I didn’t have a Free! print for con season which is ridiculous on my part

based off that beach training camp episode~~~

edit: available on s6 as a print!

you’re under the weight of living.

i wanted to draw yato w/o his scarf thing and things escalated from there

i’ve been so art blocked lately :( can it be fall already so i can go to art school

barleytea:

i did some googling around and i found gbepackaging whose mailer prices are actually $10+ less than uline’s and they don’t donate to anti-gay organizations lol. uline’s poly bags cost less but i’ll gladly eat the price difference if it means i won’t be supporting homophobia. there is also papermart but unfortunately they don’t stock rigid mailers in the size i need, and their poly bags cost more than gbe BUT they do seem to have a lot of crafty stuff so!

sachinteng:

30 Day Challenge // Day 23 // Something That Makes You Happy

I’ve learned how to cook since I moved out to California. It’s therapeutic. And delicious~ I garnish everything with a fried egg, and I never regret it.

commanderspock:

silentgiantla

Animated artwork by Rebecca Mock

Fine, detailed and subtle animated artwork created by New York illustrator Rebecca Mock. Apparently the animated gif back to stay, gradually more and more people are exploring this old format and customers asking for shouting. Several of these illustrations were created for the New York Times or The Warlus magazine.

neurotoxin-from-glados:

do you ever see an art style and just go

 oh my go d

image

it’s so beaut iful

i was trying to draw dark!leo (thanks satvika toomuchsky) but he just came out really intimidating instead

UPS Store Print Business Card Sale - 500 for $5

solar-citrus:

I thought I’d spread the word since it’s con season and might help other artists who’re still on the hunt for a good deal!  ovo  The sale ends on April 11th. 
Click here to check it out!! 

all my followers come out of the woodwork the moment i reblog a reference post

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

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