A Tutorial Masterpost




Some tutorials that I’ve come across, organized both for my own viewing pleasure and to hopefully assist others as well. I update this list whenever I come across new, helpful pieces.

A lot of these are hosted on my personal Tumblr, but I don’t change my url so it’s pretty safe to bookmark them there (and not have to worry about the url changing) if you don’t wish to reblog them yourself for whatever reason.

Feline tutorials:

Canine tutorials:

Avian tutorials:

Human(oid) tutorials:

Facial features:

Neck, shoulders, arms, back, and torso:

Legs, hips, and feet:


Full body and poses:

Hair and skin:


Dragon tutorials (and bat wings):

Equine tutorials:

Cervine tutorials:

Ursine tutorials:

Miscellaneous animal tutorials:

Background and objects tutorials:

Clothing tutorials:

General painting, drawing, and style tips:

Hand and wrist health:

Hope these help!

Dunno how many of these are decent, but reblogging anyway just in case some are

Pictures Mean Business



Sarah McIntyre’s Pictures Mean Business site is a lot of thought to chew on, and provides a roundup of issues facing illustrators these days.  A must see for any artist, writer, publisher, media provider, teacher or lover of books and illustration.

Yay illustrators!  Give ‘em da credits, folks!  Don’t forget ‘em!

Pictures Mean Business



So I’ve had a bunch of people at some point ask me what colors I use for skin, and I figured I would post it on here, because this method honestly saved my ass in ap.

So this is my skin color palette, which I automatically use. I almost always use myself as a reference so this works for me, alternative colors can be added for different skin tones. (Not shown is PC 940 and PC 914 which are light yellows used explicitly for the edges of highlights in extreme lighting situations).

Never never put down white to lighten your skin tones, unless you’re creating shine marks or making a highlight on toned paper, it washes out and tends to plasticize the skin.

Warm skin bases are easily made with a light layer of Peach over Beige- light peach oftentimes has the same problem with white. Layer in the order of beige, peach, rosy beige, clay rose, dark brown, and dark umber. It’s okay to let the colors show underneath each other sometimes, it lends depth to skin. Don’t shade uniformly!! Skin is not flat, it’s stretched over muscles and bones, there are always shapes to contour.

Henna exists to flesh out your shadows. Lightly penciling out henna on the edge of your brown shadows makes them look fleshy, instead of hard. Rosy beige makes things vaguely cloudy when used over dark browns- use this to your advantage and use it for the little pieces of illuminated skin in shadows.

Don’t use black unless an explicitly black shadow is laying across the skin. It doesn’t blend with other colors without getting gross and ugly, and you’ll have a hard time making the shadow look like shadowed skin rather than a black mass on top of your skin.

Cloud blue is very useful for hands, in the places where the veins are close to the skin, or in adding eerie effects in highlights and light spots. There are so many colors in skin, don’t limit yourself to standard colors that make your skin appear flat. Purples and reds are more useful than you’d think.

I’m not sure how useful this is, I’m just a student who found these things out by trial and error myself, and I hope someone can take something from this. (I think all of these colors came from Prismacolor’s portraiture set)






I feel like there are a million people who need to understand this.

This is from my book, Super You, which you can buy RIGHT NOW. 


I want you to think about this specifically in the context of artistic critique.

Because too often I see brutal honesty hailed as the best kind of critique, and I find it frustrating, because a brutally honest critique can just be someone selfishly making themselves feel good by tearing into a beginner, leaving them with little motivation to continue – and I absolutely refuse to think that’s necessary. Honesty is necessary but cruelty is not.

Treat others the way you’d like to be treated.  Done!



I know this is making the rounds, but I wanted to make sure my artists peers out there see this. Most every creative professional has been or will be approached to do “spec” (on speculation, or speculative) work in their lives, and when you do, you know all these feels.

Alternatively, those that offer you “great exposure” but no pay; same sort of thing. I’ve fallen for this in the past. Please don’t let it happen to you.

It’s one thing to give your time and work to a cause you believe in and support if you have the means. It’s quite another to be asked for free work in this way.

Guys, we artists gotta stick together.  Value your art, and others will too.

The “If you’re not drawing 24/7 you aren’t working hard enough.” mentality is garbage.




When I was in college there was this ongoing competitive mindset from the teachers /students that: “If you’re not drawing all night / getting 1 – 2 hours of sleep, you’re going to fall behind.” If you’re an artist you’ve probably met this kind of thinking… I’ve heard it from so many pros / tutorials.

One of my professors said that line all the time. I loved this dude. he worked at Disney on many of my favorite movies, and my young self became absorbed in this mindset. About 3 years into my degree that professor had a stroke, and when he went to the doctor they said he actually previously had something like 10+ strokes without even knowing, brought on by stress, and that he needed to slow down

Since then I’ve heard tons of other accounts of sickness and divorce brought on from addiction to work.

A few years later I was listening to an Animation podcast interviewing Glen Keane. He brought up that there were other animators who would live and breathe their work, never going home, barely sleeping, etc. 

What shocked me was that Glen Keane said something like “I ignored this idea, and decided to go home every night to spend time with my family, because I could learn just as much from my life experiences with them.” 

Anyway I just wanted to take a second after hearing a statement like this again recently and let any young artists out there know that:

There’s nothing wrong with investing plenty of time studying and drawing, but also be healthy. 

This is important! Draw often and draw every day – its how you get better – but don’t stress yourself out! You’ll always do better work when you’re well rested and living your life. I only pulled a few all nighters in college and every single one of them was a mistake. You don’t need to do that. If you’re not healthy in the end it won’t be worth it at all.

Wear your sleep as your badge of honour instead of being a person who trades stories about how they haven’t slept in days. Your body will thank you for it.

I honestly don’t remember ever doing an all-nighter in college.  Rest, balance, healthy life experiences, these are key! 

Also if Glen Keane is saying it it’s probably something you can take to the bank.