hi i'm abby and this is where i reblog anything and everything that holds some form of inspiration to me. this includes pretty scenery, cool clothes, tutorials, etc.
Abby's Reference Desk

bluepueblo:

Cherry Blossoms, Bonn, Germany

photo by adas

shoutyourporpoise:

absynthe—minded:

Fae Court Fashion: Rami Kadi [x]

Abandoned House in the Woods Taken Over by Wild Animals

Finnish photographer Kai Fagerström presents unique photo series, where he captures wild animals making themselves comfortable in abandoned houses in the woods of Finland. Titled The House in the Woods, the photo series is set in cottages near Kai’s summer house, which were abandoned by their tenants after the owner of the place died in a fire. Award-winning photographer noticed how the place was slowly being reclaimed by the nature, and what started as a few snapshots, ended up being a book, published in Finnish, German, and English.

“Deserted buildings are so full of contradictions,” says Kai. “I am fascinated by the way nature reclaims spaces that were, essentially, only ever on loan to humans.” Kai usually works with a clear image of what he wants to achieve in his head, although it make take some time for all elements to fall into place. The photographer has enough patience, however: “This is fine with me,” he says. “The journey is more important than the destination.“

(Source: catsbeaversandducks)

lissycposts:

Andy Goldsworthy’s art

Dolce & Gabbana - Spring Summer 2012 2013

(Source: downeyo)

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

englishsnow:

{ landscapes by Tyler Hauser }

beccapaintmore:

Various ways of making armor and weapons.

Links-

http://www.kamuicosplay.com/tutorials

http://entropyhouse.com/penwiper/costumes/helmsdeep.html

http://www.amethyst-angel.com/cb/special_papermache.html

http://kurerukreatis.deviantart.com/art/Cosplay-tutorial-Helmet-of-Wow-328220166

http://www.amethyst-angel.com/cb/ffvii_cloudpauldron_wonderflex.html

http://www.instructables.com/id/Using-Paper-Resin-and-Fiberglass-to-be-the-Maste/?ALLSTEPS

BONUS

Armour from foam flooring tiles - http://bioweapons.wordpress.com/2010/06/21/mass-effect-n7-armor-build/

http://www.tamasoft.co.jp/pepakura-en/

http://cast-a-walker.blogspot.co.uk/2008/08/resin-casting-step-by-step.html

deltaink:

runescratch:

I’ve been asked a lot about how I draw hoods, mostly Talon’s hood, so I hope this helps a little? Just a pretty basic thing but hey there ya go

Hoods are pretty cool, they usually have a lot of variety in how they can look (and sometimes people even wear two hoods at once) so just get creative with it and have fun

MIGHTY NEED

mikikoponczeck:

Endling needed some pose references for sketching, so we took a few pictures. :3 Feel free to use for practice etc. (no commercial use please)

Part 1 of 2. 

Part 2 is here.

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